Architecture Article

Real House frames the boldness and subtleties of the Sonoran Desert, translating these qualities into spaces that a young family of five can call home. A driving part of the design process was site selection with the clients. Their ambition was to find a foothills parcel with panoramic views, however, as this kind of property was unavailable, we instead transformed the opposite of their preconceptions into an opportunity. Situated on an introverted parcel along a quiet arroyo — with seemingly no views — downslope from a busy road and surrounded by neighbors, the design is transformative. The home reveals a dramatic sightline down the arroyo, while surprisingly capturing the opposing panoramic range of the Santa Catalina mountains.

Between June 23 and August 30, 1988, The Museum of Modern Art (MoMA) in New York held an exhibition titled Deconstructivist Architecture, as part of a program “conceived to examine current developments in architecture.” Curated by Philip Johnson and Mark Wigley, it focused on the contemporary work of seven international architects: Coop Himmelblau, Peter Eisenman, Frank Gehry, Rem Koolhaas, Daniel Libeskind, Bernard Tschumi, and a young Zaha M. Hadid. At 37 years old, her work was presented to the world as an example of “the emergence of a new sensibility in architecture.” The material on display was not a model or a blueprint, but a painting, The Peak, submitted for an architectural competition in Hong Kong in 1983. From this starting point, her contribution to architecture deepened along the same lines recognized at the time of her inclusion in the exhibition: the development of a distinctive, mathematical, and, in her own words, “fluid” architectural language, and her emergence as a leading female figure in a field historically dominated by men.

Pilgrimage is one of the oldest and most persistent cultural practices, a spatial expression of humanity’s search for meaning that has taken form across geographies and religions. While traditionally tied to formal belief systems, its definition has expanded in recent decades, reflecting new understandings of what is sacred and where meaning can be found. This shift reveals something fundamental: the act of moving through space remains central to how people construct meaningful experience. Yet most built environments constructed today are designed to be approached at speed from roads, transit corridors, airports, and optimized urban cores. The Camino de Santiago stands as a sustained counterargument to this condition. It is a piece of distributed architecture, refined over centuries, that remains a sophisticated example of design organized around the moving human body.

The project is located in Haikou, Hainan Province, where the sea and tropical vegetation define the city’s natural context. Approximately sixty kilometers to the northwest lies Fushan Town, the origin of coffee cultivation in Hainan. Established in the 1970s, Fushan Coffee has been embedded in regional daily life for decades, carrying both an agricultural lineage and a vernacular cultural presence. Commissioned by Fushan Coffee, the project reimagines the new coffee space as a medium for the brand’s story—one that allows visitors to experience its history, production, and locality. This position informs both material strategy and spatial organization.

The design of this mixed-use private residential project is influenced by the owners’ lives, which have revolved around China since their teenage years. It also responds to their request for an architectural approach that showcases exposed structures, materials, and building systems.

at the core of the UNS-designed metro line proposal is an interpretation of turin, italy as a city defined by flow.

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