As populations continue to age globally, architecture is increasingly confronted with a difficult question: how can homes support physical accessibility without reducing later life to a purely clinical condition? Too often, housing designed for aging prioritizes utility at the expense of atmosphere, identity, and emotional comfort. The result is a built environment that functions efficiently yet rarely feels aspirational. With Home for Life in Heifort, Belgian practice FELT proposes another possibility entirely––one where aging is treated not as decline to be managed, but as a stage of life deserving of beauty, autonomy, and architectural richness.

Designed for a retired couple wishing to age in place, the 170-square-meter residence quietly embeds accessibility into an environment defined less by accommodation than by spatial generosity. From the street, the single-story house appears almost archetypal: a compact white volume capped by a copper-toned roof and punctuated by a circular window that lends the façade a near childlike familiarity. The restrained exterior, however, conceals an unexpectedly layered interior landscape where light, timber, rhythm, and procession become active participants in daily life.

FELT founders Jasper Stevens and Karel Verstraeten resisted approaching ageing as a fixed condition requiring static solutions. Instead, the project anticipates change over time. “You cannot fully predict future ageing or possible challenges related to mobility,” the studio explains, “so that flexibility has to be embedded in the architecture itself.”

That philosophy manifests in subtle yet critical decisions throughout the house: generous circulation widths, sliding doors, level thresholds, adaptable kitchen components, and accessible sanitary spaces all work quietly in the background to sustain independence for as long as possible.

Importantly, none of these interventions announce themselves through overtly medicalized aesthetics. Instead, the house feels warm, tactile, and deeply domestic. Exposed CLT timber frames establish a visible rhythm across the interior, creating a sequence of alternating “served” and “service” spaces––a classical organizational principle reinterpreted for contemporary life. Larger open rooms unfold into more compact support spaces, creating a legible plan that can evolve alongside the occupants’ future needs.

“Alternating larger open rooms with servant spaces creates a plan that remains flexible over time,” the architects note. “It also allows the thresholds between spaces to become more open or more closed in the future, depending on changing needs.”

The timber itself plays an equally important psychological role. While accessibility standards often lead to sterile environments, FELT instead leans into material softness and familiarity. “You do not want an environment that feels like a device or an aid,” the studio says, “but a home that conveys calm, familiarity, and ease.” Throughout the interior, pale wood surfaces absorb and diffuse daylight, producing spaces that feel simultaneously intimate and expansive. White-painted sections heighten the contrast between structure and openness, balancing warmth with luminosity.

Perhaps the project’s most distinctive architectural gesture arrives overhead. Rising above the roofline are three sculptural chimney-like volumes clad in weathering copper. While they formally animate the otherwise modest silhouette, they also serve crucial environmental and experiential functions. Housing technical and servant spaces, the vertical elements draw daylight deep into the narrow plan from multiple orientations. Rather than acting as isolated skylights, these shafts become luminous spatial volumes in themselves.

The changing quality of light throughout the day becomes a subtle mechanism for perceiving time within the home. “The house feels different throughout the day,” FELT explains. “The passage of the day becomes almost tangible within the house.” In a project centered on ageing, this sensitivity to temporality feels especially poignant. Architecture here does not attempt to resist time, instead framing it gently and perceptibly through the atmosphere.

That emotional attentiveness extends to intergenerational living as well. Tucked within the roof volume sits a compact sleeping loft designed for visiting grandchildren. Accessible now via a pale blue spiral stair, the space introduces continuity and joy into a home otherwise organized around long-term care considerations. If the stair eventually becomes impractical, the loft can transition into storage without compromising the functionality of the main floor. The gesture reflects FELT’s broader refusal to reduce ageing to limitation alone.

What ultimately distinguishes Home for Life is its rejection of the assumption that accessibility necessitates neutrality. “We hope projects like this show that the opposite is possible,” the architects explain. “A house designed around aging can still have a clear identity, its own spatial qualities, and a distinct architectural voice.”

To see this and other works by the architecture and design studio, visit felt.works.

Photography by Stijn Bollaert.

To savor a fresh baguette from a bakery in Paris is truly a feast for the senses, and often a highlight for foodies on holiday abroad. Few offerings stateside compare, though, with grab-and-go bakeries that all too often imitate the look of a standard French café, with little variation.

The Bread Club in Dallas offers a different experience, with a contemporary take on traditional fare and favorite spots in the City of Light. Designed by INK+ ORO Creatives and inspired by the ritual of bringing loaves home from a Parisian market, it looks sophisticated without the contrived elements that would overwhelm the 1,120-square-foot eatery.

“The biggest challenge was reminding ourselves that we couldn’t turn the space into a French boulangerie,” says Tiffany Woodson, founder and CEO of the studio. “We kept coming back to strong architectural basics, trusting that restraint would do more to enhance the concept and showcase the product more than any decorative flourish could.”

The curved plaster ceiling adds a sense of volume, yet doesn’t seem heavy. It also serves as a marker that defines where customers line up, and highlights a main point of interaction, the counter. Delicate light boxes illuminate fresh goods, while shelving is accessible to both front-of-house staff and bakers that work in the rear. A coordinating vertical display stores the signature baguettes, and matching cases hold cold beverages and provisions.

The overall palette is neutral, but has just enough warmth, which forms a backdrop that will still align with the rest of the interior even as items on the menu or other facets change. Blue lettering on signage offers a hint of color. Luxe touches evoke the same softness as bread. Tiles with a subtle crackle finish complement the custom millwork. Walls with the same treatment used overhead provide a buttery texture throughout.

The Bread Club blends the essence of Paris and its home base to reimagine what a bakery can be, no matter the location. “There’s a subtle nod to Texas wheat woven into the design’s sensibility, but it’s never literal,” Woodson notes. “It gives the space a timeless, unpretentious quality that feels welcoming to everyone.”

To see this and other works by the design firm, visit inkandoro.com.

Photography by Aaron Dougherty.

As a young man in Iceland Tryggvi Thorsteinsson worked in construction, which shaped his view of his eventual profession. “Everything had to be imported so nothing was wasted, and that mindset stayed with me,” he says. “Architecture became an extension of that way of thinking; being intentional, simplifying, and making things that last.”

Thorsteinsson was also inspired by nature in his native country, which is raw and powerful. His parents created a botanical garden in the Westfjords region, where he happily spent hours and learned to cultivate plants. Just as with many aspects of life he realized he couldn’t rush the process, and that growth happens at the right time.

He eventually settled a world away in Southern California, where he co-founded Minarc with his partner and wife, Erla Dögg Ingjaldsdóttir. The pair is known for their innovative approach to blending interior and exterior environments via unique outdoor features, sunlight, and framed views of the surrounding landscape.

Whether a commercial development or a residence, each structure reflects Thorsteinsson’s deep commitment to sustainability. He favors reclaimed materials and eco-conscious options, similar to those that were fundamental on those early jobs back home.

It is particularly gratifying for Thorsteinsson when a project is complete and a client becomes a friend. “When they move in and start using the space, when the details hold up over time, and the house just feels right, that’s the reward,” he notes.

Today, Tryggvi Thorsteinsson joins us for Friday Five!

Photo: courtesy of Tryggvi Thorsteinsson

1. My Family

Family is the biggest part of everything. They keep me grounded and remind me what actually matters.

Photo: courtesy of Tryggvi Thorsteinsson

2. Skrúur Botanical Garden, Westfjords, Iceland

Skrúur, a botanical garden in the Westfjords of Iceland built by my parents, is where I learned patience. The idea is simple: you plant and care for it, and over time it grows and gives back.

Photo: courtesy of Minarc

3. The Way Water Moves

Patterns created by nature are efficient and honest. Water finds its path without excess or decoration. It’s a reminder to simplify and let logic shape design.

Photo: courtesy of Minarc

4. Moss on Lava Fields

The contrast of soft and hard, alive and ancient. Moss slowly claims the lava, showing how everything changes over time. This balance carries into architecture—using strong, lasting materials while leaving space for life to happen around them.

Photo: courtesy of Minarc

5. Natural Light

Light defines everything. The way it moves through space, changes throughout the day, and creates atmosphere is endless inspiration. If the light works, the space works.

Works from Minarc by Tryggvi Thorsteinsson with Erla Dögg Ingjaldsdóttir:

Photo: Courtesy of Art Gray

ION Adventure Hotel
ION Adventure is a luxury hotel in Iceland that blends architecture seamlessly into its dramatic natural surroundings near Mt. Hengill and Þingvellir National Park. Elevated on pillar-like structures inspired by Iceland’s earliest settlers, the design appears to float above the geothermal landscape, with a black, lava-like exterior that echoes the region’s volcanic geology. The hotel emphasizes openness and immersion, using expansive glazing, natural light, and outdoor living spaces to dissolve the boundary between interior and exterior. Sustainable, locally inspired materials such as driftwood, lava stone, and reclaimed wood are integrated throughout, alongside a prefabricated building system that prioritizes environmental performance. With panoramic views of glaciers, hot springs, and the Northern Lights, Ion creates a quiet, elemental retreat rooted deeply in Iceland’s landscape and mythology.

Photo: Courtesy of Art Gray

Zen House
The “Zen House” in Manhattan Beach is a minimalist two-story home and ADU for a family of four. While the courtyard, koi pond, and olive trees provide a serene, travel-inspired welcome, the project’s defining strength lies in its sustainability. Minarc prioritized environmentally conscious solutions from the ground up, using Kebony modified lumber for cladding, decking, and fencing to ensure longevity with a low environmental footprint. The home is built with prefabricated panels, a system that minimizes waste, increases precision, and significantly improves energy efficiency. Advanced insulation materials maintain stable indoor temperatures, reducing reliance on mechanical heating and cooling. These features work in tandem with high-efficiency equipment, including heat-pump-powered radiant floor heating and energy-saving appliances. Natural ventilation, ample daylight, and seamless indoor–outdoor connections further reduce energy use, creating a calm, modern, and environmentally responsible home that supports the family’s active lifestyle.

Photo: Courtesy of Art Gray

AlpIce
Nestled in the Hollywood Hills, the AlpIce Home (Alpine & Iceland) is a nature-inspired residence that balances simplicity, sustainability, and functionality. Designed to evoke dramatic natural landscapes, the home features subtly contrasting interiors, expansive glass walls, and abundant natural light that blurs the line between indoors and out. A multi-level layout offers seamless transitions between private and communal spaces, from guest suites and a family room that opens to the pool deck, to airy living areas and a primary suite with panoramic views of the Santa Monica Mountains. A standout feature is the sculptural accent wall of volcanic rock and sand—symbolizing “New Earth, New Life”—which reinforces Minarc’s philosophy of bringing nature inside. Built entirely with the firm’s eco-friendly mnmMOD system, the home prioritizes energy efficiency, durability, and healthy living, while advanced low-voltage lighting enhances ambiance, reduces environmental impact, and supports overall wellbeing.

Photo: Courtesy of Art Gray

Stairway to the Stars
Located in sunny Los Angeles, the Stairway to the Stars project is inspired by the area’s distinctive light and color, offering a seamless visual experience from the moment you enter through its striking oversized wood door to the expansive backyard beyond. While the home feels open and transparent, it maintains complete privacy from the street, enhanced by a front courtyard that leads to a lower-level guest apartment, theater, and entertainment space. Inside, clean, open living areas prioritize accessibility and comfort, with sculptural elements like a glass-ceilinged powder room adding artistic dimension. Upstairs, serene bedrooms and a spa-like primary bath continue the home’s calm, neutral palette. Outside, Minarc’s signature creativity shines through a dramatic façade staircase – evoking a “stairway to the stars” – and a backyard designed for both relaxation and entertaining, complete with a pool and full gym.

Mildred
Artfully situated in Los Angeles’ Venice neighborhood, the Mildred Residence balances clean simplicity, sustainability, and functional design. Inspired by dramatic natural landscapes, the home features striking contrasts, most notably a sculptural, glacier-like kitchen island set against polished concrete and black marble. while maintaining a seamless flow between spaces. Expansive windows flood the interiors with natural light, blurring the boundary between indoors and outdoor courtyards, while a multi-level layout connects private and communal areas with ease. Built using Minarc’s eco-friendly mnmMOD system, the residence prioritizes efficiency and environmental responsibility without compromising aesthetics. Completed with understated interiors by Erik Lindström, the home is a refined, nature-inspired expression of modern, sustainable living.

Our homes are changing fast all the while being asked to accommodate more and more functions. The same space used during the day as an office or playroom can moonlight as a lounge or sleeping chamber. When tasked with the transformation of a classic Milan apartment—traditionally fragmented into many smaller rooms—local architecture practice Atelierzero took a bold approach.

The maverick, locally based firm removed most non-load-bearing walls and methodically introduced a series of almost furniture-like inserts that divide the now main unit and adjoining studio home, but also allow for smooth, near-seamless transitions when needed. There are no doors, at least in the conventional sense.

Distinct yet complementary color blocking renders the pared-back, geometrically architectonic volumes as standalone elements, brought together almost like a miniaturized city skyline: buildings of various proportions placed side by side.

Inspired by the colonnaded porticos found throughout the northern Italian metropolis—and the commercial streets below—the main corridor, clad in a warm orange, serves as the apartment’s primary axis. Its almost Carlo Scarpa-like terrazzo floor is an emphatic “if-you-know-you-know” nod to context. On one side, rectilinear cutaways lead into the apartment’s main entertainment space. On the other, cabinet-embedded hatches open up to a powder room, utility space, en suite bedroom, and the semi-separate studio.

Holding pride of place in the “main hearth” great room of the apartment, the taupe-toned kitchen module appears to float on its own. It also strategically shields the more intimate study and dining area toward its rear.

Furnishings sourced from decidedly Milanese but globally recognized design brands B&B Italia, CC-Tapis, Oluce, and Flos intermix with iconic re-editions from equally emblematic producers Artek, Marset, and Thonet.

This shrewd, sparingly introduced curation ties everything together and softens what would otherwise be a starkly crystalline interior. The visual and visceral composition is intriguing. The adjacent studio reflects the same cohesive strategy, ensuring both spaces present as a unified, if physically detached, whole.

To see more work by the bold firm, visit atelierzero.it.

Photography by Specchi Studio.

Few coastal sites in Northern Europe carry the weight of SAR’s foundations– four grass-covered Soviet-era military bunkers and the remnants of an occupation that reshaped both the Baltic landscape and its people. Rather than erase this history, Riga-based OAD founder and lead architect Zane Tetere-Sulce folds it into a working premise. The question at the heart of the project is not simply how to build on the Latvian coast, where creeping dune erosion, protected biotopes, and rising Baltic waters make construction increasingly fraught, but how to build with a charged site – one where architecture has, through time and overgrowth, become nearly indistinguishable from landscape.

Discovered as a cluster of timeworn military remnants, the site’s four bunkers are reimagined into a compound for a multi-generational family – one main residence and two guest houses – shifting their original defensive logic toward a contemporary domestic reading of shelter.

The two guest houses, their roofs sown with living grass, sink back into the dune habitat they occupy, extending the ecological logic of the site rather than interrupting it. Their forms draw loosely from the original bunkers, expanding habitats for local fauna while maintaining a low, almost recessive profile against the shifting sands. The main residence takes the opposite posture – bridging two bunker foundations and entering from below, it lifts its primary living floor above the sea horizon. Life begins on the second level, where the communal spaces hover just above the landscape, forming a deliberate tension between levitation and groundedness.

OAD continues by explaining, “Instead of focusing on the conflict aspect of a military site, the attention is redirected towards the bunker’s core purpose – to keep its inhabitants safe from the hostile outside environment. Our intention was to explore the themes of safety and security within a different context rather than try and rewrite the history.” Conceived as a “safe haven” for three generations, the project responds directly to the region’s harsh coastal conditions, where northern winds are strong enough to bend century-old pines.

In the guest houses, deep-set windows create a bunker-like atmosphere, reinforcing this language of protection. That same vocabulary carries into the main house, where the ground-floor structural supports offer a raw reference to Soviet military architecture, anchoring the elevated volume above.

The main house roof is the project’s most technically revealing element. Its pronounced dual-slope profile follows strict local regulations typical of this stretch of coastline, yet OAD amplifies the form through fiber-cement cladding – a contemporary reinterpretation that subtly nods to Soviet-era materiality. Faced with the challenge of suspending such a mass above a fully glazed facade, the studio developed a bespoke metal frame, intentionally left exposed as both structure and expression.

The overhang on the south face is carefully calibrated, with upward-sloping soffits that shield interiors from peak summer sun while drawing in the low-angle light that defines Baltic afternoons. The result is a roof that performs as both environmental mediator and psychological anchor – its weight counterbalancing the transparency below.

In Tetere-Sulce’s words, “The local architectural regulations mandated a dual-sloped roof – we chose to lean into this constraint. By amplifying roof proportions, we aimed to evoke a sense of grounded heaviness to psychologically deepen the sense of security. This heavy structure also acts as a counterbalance for the rather lightweight building. By elevating the glass structure above the ground, we created a tension where the protective weight of the top balances the openness below.”

Within the interior, the architectural language is restrained, almost ascetic. Concrete floors, wooden surfaces, and tactile finishes substitute texture for color, aligning with OAD’s broader approach of letting materiality carry atmosphere. A vaulted, wood-clad ceiling further emphasizes volume in the main living space, while the expansive glass facade dissolves any clear boundary between inside and out.

The planning follows the rhythms of the day: morning light floods the main living terrace and communal areas, while the master bedroom’s apertures are oriented west to capture long Baltic sunsets. Across the compound, the architecture resists over-domestication, allowing the century-old pines, the protected dune landscape, and the approaching sea to remain the dominant forces.

SAR ultimately reads less as an imposition on the land and more as a calibrated response to it – a project that, in Tetere-Sulce’s words, “does not conquer the land but lives lightly upon it,” reframing a site once defined by defense into one shaped by quiet resilience.

View more information on OAD’s website.

Photography by Alvis Rozenbergs.

For some, the idea of entering a yoga studio can be fraught with feelings of intimidation and anxiety. What is meant to be a calm and meditative space can often be perceived by the inexperienced as exclusive, judgemental and unwelcoming; even those who are familiar with the discipline and have a long-established practice can be hesitant to join a new studio if it feels uninviting. Basic Space in Camberwell, South London, is decidedly not one of those studios.

Established by Jaime Hepburn as a “neighborhood practice,” Basic Space is warm, open, and inviting, thanks in no small part to its design. Devised by architect Matt Hepburn–founder of London’s haat studio and husband to Jaime–the studio fosters a sense of inclusivity and community through its considered material palette of frosted glass blocks, polished concrete, birch plywood, natural linen and organic plaster.

“The materials set the tone,” says Matt Hepburn. “They’re honest and tactile, the concrete underfoot, the texture of the plaster, the softness of the linen. We wanted every space to contribute to a feeling of uplifting calm.”

That feeling is noticeable as soon as one walks through the transparent glass door. Crisp yet serene, the reception lobby is flooded by natural light that streams in through the windows and is scattered about by a wall of frosted glass blocks. A sculptural plaster pedestal by architect and artist Freddy Tuppen anchors the space; serving as the check-in desk, the organically shaped podium is an approachable focal point that helps orient oneself within the space.

A corner of streamlined open shelving displays product in a neat and orderly fashion, while a low-slung Kashima sofa from Ligne Roset provides an opportunity to lounge before class or linger after. “It’s not like an ‘okay, in and out, see you later’ kind of place,” says Matt Hepburn of the lounge-like area. Beyond the reception, the changing rooms, clad in yellow-hued ceramic tiles, beckon with a soft glow.

The wall of glass blocks separates the reception from the main studio space (a second room appointed with Pilates reformers is found at the back); composed of elongated rectangles, the glass blocks are “slimmer and a little more elegant” than the more commonly expected square format. “I feel they have a slightly more contemporary feel,” says Matt Hepburn of the choice.

Fronted by full-height frosted glass, the main practice room is the epitome of serenity – daylight floods the space, but the glazing treatment soflty filters it and also provides a privacy screen from those passing by outside and mutes the visual distraction from within. Linen curtains can be used to close off the space entirely for workshops or other events, with the natural material contributing a softening effect that is complemented by warm birch plywood storage shelving.

Throughout the studio, the flooring is a uniform polished concrete with exposed aggregate that reads like a high-end terrazzo and is at once hardwearing and grounding underfoot. Matt Hepburn opted to not install a drop ceiling, instead allowing the visible industrial elements to play a role in the overall design.

The material-driven approach taken by Matt Hepburn for Basic Space has successfully created a yoga and Pilates studio that is inherently textural and honest – and one that gives the community an open and inviting place to return to time and time again.

To see this and other works by the firm, visit haat.studio.

Photography by French+Tye.

In sunny Los Cabos, shade is a much-needed amenity. So, when designing Casa en Palmilla in the Mexican city, the firm ESTUDIO Ignacio Urquiza Ana Paula de Alba crafted an architectural form that integrates shade into the very DNA of the home.

To wit: the pair of lightweight, L-shaped roofs give that this project its extraordinary character. With almost seven-foot-deep overhangs, they cast generous shadows on the walls and around the 6,450-square-foot home’s perimeter that provide respite from the sun. Beneath this clay-tiled canopy, Casa en Palmilla’s four dwelling volumes are configured in such a non-orthogonal way that the courtyard at their center is trapezoidal and they all benefit from cross ventilation.

This gravel garden — with its view of the mountains beyond — is contoured around the home’s main spaces, providing privacy while filtering in sunlight. But only the main social area opens onto completely the outdoor haven.

Each of the home’s four volumes has its distinct program. The first is the “service” volume, with its parking, storage, mechanical and laundry spaces. Sharing the same roof is the guest bedroom volume. “Within it,” the architects explain, “a freestanding wooden element — detached from the roof plane — defines the guest bathroom and dressing area, reinforcing a sense of continuity and spatial openness.”

Beneath the second L-shaped roof, the third volume houses the main bedroom and its walk-in closets and study area. And the adjacent fourth volume, featuring a living room, dining area and open kitchen, constitutes the central social area that continues onto the courtyard. By opening its 40-foot-long glazed doors on both longitudinal facades, the occupants transform the space into a covered terrace that’s connected on one side to the central courtyard and on the opposite to a swimming pool with a view of the Sea of San José.

Inside, the planes of the L-shaped roofs overlap to dramatic effect, the laminated oak ceiling beams conjuring a bold interior geometry complemented by a soothing neutral palette. All the furnishings and decor were led by Alejandra Usobiaga. Together the design team created major moments with the kitchen millwork and a sculptural concrete fireplace tower that delineates the dining and living areas. It doesn’t get more serene than this.

To see this and other works by the firm, visit estudioiuapda.com.

Photography by Ignacio Urquiza Luna Parra and Ana Paula Álvarez.

It’s hard to deny that Austin is booming. The once sleepy Texas state capital—known for its alternative music and art scene—has flourished into a major tech hub; challenging San Francisco’s hegemony. With that, the midsized city has seen innumerable skyscrapers rise in its downtown and the rehabilitated Rainey Street Historic District; flanking the edge of the Colorado River (Lady Bird Lake).

One such locale is the all-in-one Paseo luxury residence tower, developed by LV Collective. Rising 48-storeys, the structure frames some of the best external city views and contains a comprehensive suite of internal amenities that could keep residents engaged all day and night. These include a deftly outfitted club-style co-working space; a 12th floor pool with adjacent bar/ Mediterranean restaurant; and a fitness program incorporating a cloud-high Yoga studio.

Paseo Chase

Naturally, the guests of the 59-key ROOST Rainey apartment hotel, embedded within four strategically positioned floors, have full access to all of this as well. On offer are fully furnished studio to three-bedroom flexible stay accommodations. Each is equipped with a full-service kitchen, in-unit washer/dryer, and innovative real estate brand Method Co.’s in-house Bonavita coffee makers/ Capresso grinders. The experiential qualities of being at home and away for work or pleasure have entirely blurred. Of course, the adaptability of these distinctly designed abodes allows for its occupants to choose one or the other for however long they might need. Similar ROOST locations are found in Philadelphia, Detroit, Cleveland, Tampa, Baltimore, and Washington D.C.

Coworking Space at Paseo – Chase Daniels

Paseo Chase

“ROOST Rainey marks an exciting chapter in our continued national expansion, and we couldn’t imagine a better city for our first Texas property,” said Randall Cook, Co-Founder and CEO of Method Co. “Our goal with every ROOSTlocation is to create a beautifully designed, highly livable space that feels rooted in its surroundings. With Paseo and The Rainey Street Historic District as our backdrop, we’re excited to welcome travelers to a hotel experience that embodies the spirit and energy of Austin.”

Chef’s Kitchen at Paseo – Chase Daniels

Coworking Lounge at Paseo – Chase Daniels

Paseo Chase

To successfully achieve this porous design-forward strategy, Cook and his team worked closely with sustainable interiors brand ZZ Driggs. The collaborators, also including LV Collective, imbued public areas with layered textures, organic materials, and warm tones subtly nodding to the history of the surrounding area. Custom artwork by Alex Bodishbaugh ties everything together.

Yoga Studio at Paseo – Chase Daniels

Paseo Chase

The short-stay residences—no two alike—carry through that approach with handcrafted details, vintage rugs, and natural finishes echoing Austin’s architectural character and the neighborhood’s Mexican-American heritage. Other elements include handcrafted and colored tiles; Velvet and leather upholstery; white oak cabinetry, grey matte countertops; and statement pendant lamps. All of this was brought together in a tight curation; one that doesn’t overpower and instead, balances familiarity (a human touch) with pared back architectonic rigor.

Paseo Chase

Amaya at Paseo – Chase Daniels

Level 12 Pool at Paseo – Chase Daniels

Rooftop Pool and Hot Tub at Paseo – Chase Daniels

Level 12 Pool at Paseo – Chase Daniels

What: ROOST Rainey
Where: Austin, Texas
How much: $215 per night
Design draws: A cohesively outfitted home-away-from-home apartment hotel embedded within one Austin’s latest luxury residence developments.
Book it: ROOST Rainey

Photography by Matthew Williams and Chase Daniel.

As a child, Peter Pelsinski was convinced that astronauts and garbage collectors had the coolest vehicles, and as a science fan, he figured that space travel could well be in his future. When he arrived at college though, he hadn’t declared a major.

One day a simple search for a payphone across the quad at the school of architecture upended his plans. “I wandered over, and before I knew it, I found myself snooping around all of the wonderful drawings and models the students were hard at work on and losing sleep over,” Pelsinski says. “It all kind of clicked at that moment.”

Pelsinski entered his chosen field as an intern at Diller Scofido. In 1995, he co-founded SPAN Architecture with Karen Stonely. Whether for a client’s commercial project or a residence, the studio is committed to the exploration of new building techniques and construction details.

Never one to focus on solitary pursuits, Pelsinski is energized when he collaborates with his teammates. He is fascinated by each individual’s creative process and how their thoughts move from concept to finished structure in unique ways.

When his own inspiration strikes, Pelsinski will doodle and then start to assemble. “There is no better way than to figure things out, on occasion, by shutting off the old mind and making stuff,” he notes. “Most design speculations aren’t even ideas when they enter your mind, and since they are not formed initially, one needs to give them a little room to come to life.”

Today, Peter Pelsinski joins us for Friday Five!

Photo: Ant Farm (American, est. 1968), Curtis Schreier (American, born 1944). DOLΦN EMB 2 (Dolphin Embassy).
1974–1975. Hand-colored brownline. 18 x 22” (45.7 x 55.9cm). University of California, Berkeley Art Museum and
Pacific Film Archive

1. Science/Science Fiction.

Science fiction. Science. Fiction. Love them both together and apart. The wonder of human-created science is that it purports to objectively explain the world in unassailable logical (sorry Spock) terms. Architects and designers have traditionally loved science as a means of legitimizing aesthetic purpose. Perhaps not so curiously, science often gets its human observed “facts” wrong and creates a form of Science. Fiction- allegedly truthful but fantastical at the same time. Like building embassies to communicate with Dolphins, the essence and perhaps illogic of the best designs lies in the earnest simultaneous application of both.

Electric Tree Haircut \\\ Photo by P. Pelsinski

2. Natural/ Unnatural

Humans do a strange job of cohabitating with the world and its other life. We seem at once constantly aware of the world through science and art, and inexplicably oblivious as we have made our marks on it. Still there is beauty at play when humans and nature interact. An occasionally gentle but always contrasting state.

Photo: P. Pelsinski

3. Play

If it is not play, it is work. I vote for play as the paradigm. Play represents a lightness of activities done for enjoyment, rather than those done for “serious” or “practical” purposes. It is a wonderful state of mind to create new connections in design.

Strange Weather \\\ Photo: P. Pelsinski

4. Shadows and Light

Tanizaki writes “In Praise of Shadow” of the dilemma of light and darkness, which he claims epitomize dichotomies between eastern and western values. A.C Graylings beautifully sums up the value of Tanizaki’s insights as “.. praise of all things delicate and nuanced, everything softened by shadows and the patina of age, anything understated and natural, as for example the patterns of grain in old wood, the sound of rain dripping from eaves and leaves, or washing over the footing of a stone lantern in a garden, and refreshing the moss that grows about it – and by doing so he suggests an attitude of appreciation and mindfulness, especially mindfulness of beauty, as central to life lived well.” Surely a message for designers. Sublime is too unspecific, but the daily phenomena of the churning atmosphere and its modulation of light and wind convey so many qualities and conjure admiration, awe (even fear!), and can strike the mind with feelings surpassing mere beauty- qualities that are perhaps the bedrock cornerstone in aesthetics.

Photo: P. Pelsinski

5. Color

What to say. It is too bad humans can’t see more of the spectrum. But what we can see can be very beautiful.

Works by SPAN Architecture with Peter Pelsinski:

The Bindery
A sculpted white stair volume and floating black treads distill architecture to its most essential geometry, a quiet study in shadow, light, and restraint.

Riverview
Dark walnut screens and open-tread steel stairs choreograph views to the surrounding landscape in this SPAN-designed residence built around a globally-traveled family’s life.

August Moon
SPAN Architecture reimagined this 200-acre waterfront property as a biophilic sanctuary where custom interiors remain in constant dialogue with the surrounding forest and bay.

Dichroic Sky
A ceiling of dichroic glass panels shifts through a painterly spectrum as daylight moves, turning an ordinary glance upward into a kinetic art experience.

L. Samaras Homage Bathroom
A fully mirrored bathroom with polished chrome fixtures and suspended tube elements creates an Infinity Room-effect in direct homage to Lucas Samaras’s legendary mirrored environments.

Gastronomes with discerning palates appreciate settings that make dining out as memorable as the food on offer. Yet a modern aesthetic in an eatery can appear cold and uninviting. Design2tone’s vision for a new spot was all about the balance of ingredients, much like the contemporary Asian dishes on the menu.

Located in the Seongsu district, SSOC sits in an area dubbed the “Brooklyn of Seoul,” dotted with renovated warehouses that are now shops and exhibition spaces. A fixture installed beneath the metal and glass facade produces illumination that subtly changes color in response to the shifting atmosphere of the exterior, and captures the vibrancy of the streetscape.

Once inside, guests see contrasting materials that echo the melding of East-West cuisine that chef Lee Jong-wook is known for. Commercial-grade stainless steel in the front-of-house area is not only easy to clean, it also provides just enough sheen. A wood-look veneer, recomposed to showcase an abstracted natural grain, complements exposed brick.

Custom tables with integrated buckets ensure that diners can savor their favorite vintage throughout their meal, from appetizer to dessert. A freeform bar counter with edges seems to move through the space, a perfect spot for individuals, while groups sit at four-tops.

The open kitchen boasts a backsplash with ebony-colored tiles, plus shelves with wine bottles on display. Strategically placed chairs give every patron a full view so they can watch as their food is prepared.

Ambiance is created via lighting to create a casual or elevated feel. During the day, the sun’s rays highlight varied textures and shapes. At night, illumination is lowered, and focused beams introduce visual depth, always with an emphasis on the fare itself.

With “new harmony in diversity” as a guiding principle, SSOC includes layered flavors and interior elements that are truly a feast for the senses.

To see this and other work by the daring studio, visit design2tone.space.

Photography courtesy of Design2tone.

Toronto is growing at an incredible rate—spreading across the vast lakeside plain it anchors and rising in dense vertical pockets. In just a few years, its population has surpassed that of other burgeoning urban centers, making it the fourth-largest city in North America. Real estate prices are soaring. In response, downtown has become a collage of bombastic architectural statement pieces—futuristic spires contorting in all directions or stacked like offset pixels. With each structure vying for attention, a dizzying jumble of styles and scales has emerged among the few historic buildings that remain. The most successful new developments, however, are those that build upon—rather than erase—existing architecture.

Take the newly opened Nobu Residences and Hotel, a Teeple Architects–designed complex that fully incorporates the iconic façade of the Pilkington Glass building that long stood in its place. Its defining feature: glass bricks. Preserved as the skin of the original structure, these elements reappear throughout the multipronged, city-within-a-city destination. Rising from this foundation are two 45-story towers with angled window bays and gently sculpted façade fins. As they ascend, a 15,000-square-foot Nobu restaurant and surrounding retail spaces give way to 660 residential units and, above, 36 “villas in the sky” guestrooms. In between, a two-story amenities podium is carved through by a near temple-like circular void.

Responsible for the comprehensive outfitting of these spaces is Miami- and Toronto-based multidisciplinary practice Studio Munge, a firm that prides itself on crafting immersive experiences. “The dramatic opening between the 9th and 10th floors allows daylight to cascade deep into the interior spaces below,” says founding principal Alessandro Munge. “From the gym that encircles it, guests can observe natural light, rainfall, and snowfall descending, while upper-level rooms look down into this illuminated core.” It offers a more unified, calming counterpoint to the hurried streets cutting across the city beyond.

Though exclusive and limited in number, the accommodations range widely in size and features. Strategic spatial planning ensures a consistent set of priorities throughout: bed orientations that frame views; walk-in closets; generous living areas; and window-side soaking tubs. These traditional wooden elements subtly reference Nobu Hospitality’s Japanese origins.

That cultural cue informs the entirety of the interior styling. The calming, restorative qualities of ryokans—traditional Japanese inns with tatami-matted rooms—serve as a thoughtful point of departure for finishes and furnishings. It’s a deliberate counterbalance to the energy of the city outside. “Rather than interpreting the hotel through a conventional luxury lens, this cue was complemented by subtle Canadian influences,” Munge adds. In the lobby, nods to the local landscape are abstracted and rendered through traditional Japanese metalwork.

In the guestrooms, soft blue spectrums suggest serenity, referencing sky and water—Lake Ontario, just visible through the thicket of nearby towers—while also evoking escape. Framing this palette, Munge and his team employ a restrained material selection: Tundra Grey stone with a leathery finish, rift-cut white oak, hand-dyed indigo textiles, and handcrafted Kawara tiles.

The finishing touch is a carefully curated suite of furnishings from leading brands and designers, including B&B Italia, Gallotti & Radice, Henge, Piet Boon, Christophe Delcourt, The Rug Company, Apparatus, Giopato & Coombes, Holly Hunt, Karimoku Case Study, and Carl Hansen & Søn.

What: Nobu Hotel Toronto
Where: Toronto, Canada
How much: $2,700 per night
Design draws: A Japanese ryokan-style retreat high above ever-expanding Toronto outfitted with muted tones and natural materials. A residential tower hotel with a comprehensive two level amenities complex pierced by circular void with cascading natural light, rain, and snow.
Book it: Nobu Hotel Toronto

Photography by Ema Peter,

There is no mistaking the core philosophy of the Forest Edge House, a 1,500-square-foot home nestled into the woods of the western Catskill Mountains. On the southern face of the house, a grid of solar panels absorbs the slanting rays of the sun, gleaming softly against dark pine cladding. There is a sense of quiet power to this little black box of a home—sited on a 3-acre forested parcel and set along a gentle slope—and that’s entirely by intention.

Forest Edge House is the fifth in a series of solar-powered homes designed by Marc Thorpe and built through Edifice Upstate, the design-and-build agency he cofounded with partner Claire Pijoulat. Each project in the series has been an exercise in restraint and self-reliance, offering what the team describes as a turnkey model for contemporary living that integrates sustainable technology at its core.

More than a formal language, it is a worldview—one that positions architecture as a means of reclaiming autonomy in an increasingly outsourced existence. As Thorpe puts it, “the system is eroding our individuality by outsourcing every aspect of our lives that enables our sense of purpose and ability to construct meaning.” The first step in taking that back, he argues, is energy independence.

The panels on the facade—24 monocrystalline units—along with an additional rooftop array, generate approximately 38 kWh of electricity per day. This infrastructure expressed, part of what Thorpe describes as “descriptive function,” where the building communicates its purpose through its form.

The house is oriented and shaped by the sun, its architecture a direct byproduct of environmental forces and use. “Nothing that exists on or within the building is decorative,” he notes. “Windows are positioned to frame views as well as provide cross ventilation, interior program and physical circulation are expressed on the facade, overhangs provide shade where required.” In this way, the home draws from the region’s agrarian vernacular, where form follows necessity, without slipping into campiness.

A 25-foot cantilevered deck in black steel extends into the canopy of the trees outside, a singular expression of outreach in an otherwise introspective building, dissolving into the landscape rather than imposing upon it.

Inside, the home is light-filled, airy, and deliberately composed, featuring fixtures from French brand Ligne Roset— a longtime collaborator of Thorpe and Pijoulat, aligned with the project’s environmental and design ethos. An open-plan living, kitchen, and dining area occupies the ground floor, supported by full-floor radiant heating, while private bedrooms are arranged above, establishing a clear programmatic split between collective and individual space. The starkness of white surfaces and black fixtures is alleviated by touches of natural materials—tan leather Togo chairs in the living room and wooden floors on the upper level—and, of course, framed views of the trees outside.

“The house is an exercise in Enough,” Thorpe explains. Thorpe explains. With three bedrooms, two full bathrooms, and luxurious finishes, it doesn’t stint on creature comforts despite being compact. That ethos extends beyond plan and program into daily ritual. The solar energy system—the panels, a 15K Sol-Ark inverter, and Lithium Ion LifePo battery bank—is a daily reminder of the resources it takes to sustain us and a prompt to live within the boundaries of what nature provides. This heightened awareness, Thorpe suggests, reconnects individuals to broader ecological systems: “How much energy am I producing? How much am I consuming? What is my place in this system?”

In this sense, Forest Edge House is a framework for living systemically with its environment through both passive strategies and active technologies. It reflects a belief that architecture, when aligned with natural forces, can transcend the physical to become something more enduring.

“This planet offers us a choice, to be one with nature or not,” Thorpe says. “Designing with sustainable systems is the first step. Humility is what comes after.”

To learn more about the design-build agency, visit edificeupstate.com.

Photography by Clay Banks.