Pritzker Prize–winner Ryue Nishizawa designed a home where every room gets its very own building. Six of the ten white cubes are on display in Funderburgh’s work, while a patchwork of Japanese-inspired patterns make for appropriate neighbors.
The futuristic Villa Bio, a concrete structure that spirals from underground carpark to green roof, set a new standard for sustainability. Carlsten picks up on the organizational principles of its design, abstracting them into an iconic tableau.
This is the only project to be featured in Dwell twice (and it was on the cover of our first issue). We returned to the house when it received a new roof design and was finally completed. Although it was a long slog for the homeowners, Holder’s take is decidedly sunny.
Unencumbered by the ephemera of daily life, vacation houses are best when stripped down to bare necessities, as this $150,000 home attests. The same could be said of Russell’s dramatic print. After all, the perfect beach shack requires the perfect beach.
Sami Rintala’s 205-square-foot Boxhome was a technical wonder of efficient planning that paired a high-tech metal exterior with a rustic wood core. St. John’s print—a building section executed with a nod to the interior finishes—elegantly weds the disparate elements.
Oddly, when five maximal personalities collided on this project, a striking minimalist design emerged. Hugo’s interpretation picks up on the strong vanishing point created by the home’s floorboards and whatever may lurk beyond its pristine walls.
As Steely and his family embraced all their new Hawaiian home had to offer, they found the best way to live on a lava flow is to go along with it. That means surfing and “talking story” with locals. Giglio’s icons and logos advertise “da kine” side of Big Island living.