Matthew Hufft designed the house that he shares with his wife, Jesse, and their three children to sit inconspicuously among its neighbors in the Roanoke Park area of Kansas City, Missouri. The backyard and porch, which is furnished with a Saarinen Round Dining Table and Emeco Navy chairs, is a popular setting for warm-weather entertaining.

Rock stands in the doorway to the boys’ bathroom, which is lined with semi-gloss Modern Dimensions tiles from Daltile. “We wanted it to be playful,” Hufft says, “so we chose each color and laid out the tile distribution in Photoshop.”

Judith and Maple at work in the living space, which has a deck off the side and a view of the neighbors' house.

The house that Kem Studio designed for Sarah Magill on a narrow lot in Kansas City has a steel facade with reclaimed cypress cladding near the entrance. The entire structure sits atop a steel foundation set on concrete piers that were driven into solid stone.

This children’s room and playroom caters to one family’s young kids with built-in cabinetry that allows the mess to be hidden away. Hufft designed this marker-board table, which was cut in the shape of Missouri. The ceiling features abstract details from Thomas Hart Benton paintings.

To most eyes, Ezequiel Farca’s 1970s-style concrete home in Mexico City looked like a teardown. Even the lot itself—shallow and crammed against a steep hillside—wasn’t particularly alluring. But Farca saw through all the restraints to create a spa-like refuge in one of the world’s most energetic cities. "It’s is such a hectic place. You’re bombarded by so much information the moment you step into the streets," says Farca, who first gained prominence as a furniture and interior designer. "So we envisioned this house as a retreat, a kind of a temple." The rooftop courtyard is lined with a verdant mix of indigenous plants, including banana trees, palm trees, lion’s claw, Mexican breadfruit, and native vines. The chaise longues were designed for Farca’s EF Collection.

In the outdoor dining room, wire chairs by Harry Bertoia for Knoll surround a mango wood table made by a local carpenter, Diego Madrazo.

Hufft Projects designed the blackened steel "fireplace wall," which includes a Lennox wood-burning stove and an entertainment center. Ample firewood storage is incorporated below the fireplace and television, with enough wood storage for over a week.

In Roanoke Park, a neighborhood in Kansas City, Missouri, architect Matthew Hufft designed a home for his family that drew on the surrounding traditional homes. In the kitchen, Bertoia barstools are tucked under a custom honed-granite two-level kitchen island by a local company, Carthage Stoneworks. Hufft’s team designed and built the larch cabinets. The appliances are by Thermador.

Known for furniture and interior design, Ezequiel Farca transformed a 1970s-style concrete home in Mexico City into a tranquil sanctuary. The temple-like retreat blends into the hilly Lomas de Chapultepec neighborhood with its pale gray-green hue and strategic plantings, which soften the boundaries between house, garden, and street. The Recinto lava stone patio accessed through the living room holds teak outdoor furniture designed by Farca himself.

In the master bedroom, a pair of Artemide Tolomeo sconces bookend a Matchbox bed by Edwin Blue.

"The longer I work as an architect, the more I want to deepen my skills as a gardener," says Yuri Zagorin Alazraki, founder of the Mexico City firm ZD+A. In building his own house in Mexico City’s Lomas de Chapultepec neighborhood, his commitment has produced results that appear miraculous. In fact, they grow out of a carefully choreographed series of bravura design moves.

An Almond bathtub by Porcelanosa is accented by a tub filler from Hansgrohe.

Measuring is key. Once you’ve decided on your ideal vanity size, confirm that you have enough clearance around any opening doors, shower stalls, and drawers, as there is nothing worse than installing a big new vanity and not being able to open the bathroom door all the way.

In an effort to create an abundance of light and air flow throughout the space, the home follows an L-shaped floor plan that wraps around outdoor areas. “We designed several open spaces, each with a different feel: the garden and pool, the terrace, and the back patio,” says Cesarman. “The idea was to reduce the area to the most basic and essential [elements].”

Magill Residence Floor Plan A Bathroom B Closet C Loft D Bedroom E Laundry Room F Storage G Living Room H Kitchen I Entry

Solid European oak flooring by DuChateau runs throughout the home. The sculpture is by Jorge Yázpik.

How did you come to work with Make It Right? About six years ago I was at a firm in Kansas City called BNIM and we were doing disaster recovery projects. I was working in a little rural Kansas town called Greensburg after a Tornado leveled the town. Make It Right asked BNIM to design one of its early first-round houses for New Orleans so I traveled down there a few times. It became apparent that Make It Right could use a bit of landscape architecture and planning insight as they looked to build a sustainable community in the Lower Ninth Ward. I took a year's sabbatical and left the prairie and moved down to the swamps and had an amazing time with Make It Right. That turned into five-plus years of work with the organization. How did Make It Right come to work in Kansas City? As the Make it Right model began to evolve there was an interest to propagate the expertise and resources developed in New Orleans to other communities. There might not be a natural disaster involved—so many urban cores are faced with economic disasters. We started to look to other communities and develop Make It Right's strategic plan. The stars aligned in Kansas City with a political structure wanting to create this area called the "Green Impact Zone" and looking to focus investment in urban revitalization under the umbrella of sustainable redevelopment.

Can you tell us about the area around the project? How did it fall into decline? What's the make-up of the community now? Our project sits on a street called Troost Avenue. Starting in the late '50s and early '60s with the removal of the street car, suburban sprawl, and other elements, Troost became the de facto racial dividing line in the city—the other side of the tracks literally. The avenue runs over 90 blocks and has a straight shot in Kansas City and whether it was reality or perception, it's been a significant problem to overcome in Kansas City's current history. Quite a few groups have been lobbying hard for ways to change that perception and ways to figure out how investment can occur in that area. A house once block east of Troost is valued at half the price as what that same house one block west of Troost would be valued. Many cities have Troost avenues. Many cities have a racial dividing line—just 95 blocks of them being a straight line is not always the case.

Can you tell us a little about what the "Green Impact Zone" is? We use a phrase called "urban acupuncture." So many times in urban cores, communities never receive enough resources and when they do receive resources it's deployed in a scattered-sites approach. Congressman Emanuel Cleaver developed a vision to do the opposite of that: to define a boundary in an area that needs revitalization and be strategic in that investment until the area becomes sustainable once again. So there was a defined area, 150 square blocks, and it became apparent where strategic investment would occur. It could be new infrastructure projects in the form of streets or sidewalks, or a smart grid development for the infrastructure, or housing, or funding getting routed to the city services in this area. The idea is to really focus investment in an area and see what can happen when everyone gets the resources they need. We were the first project out of the gate and since that moment, over 110 million dollars of investment has been strategically diverted within a half-mile walkable radius of the project site so that it can become a sustainable neighborhood again. That's the core idea: the project becoming a catalytic force in an urban core.

Can you walk us through how you designed the structures? Here at Dwell we're very friendly toward modern buildings but is that something where you received any pushback from the neighborhood? We were fortunate in terms of aesthetics in that we had a historical building and we laid out from the very start if we have to do new construction, our boss is a modernist at heart and we would propose contemporary housing options as opposed to what I'll call "imitation crab meat." We didn't want to try and recreate the beautiful architecture that was completed over 100 years ago because it would always just look fake. That being said, we wanted a contemporary design and looked to the neighborhood for scale, materiality, color palette, and other elements in terms of the architecture and walking the community though the process coupled with the big idea and vision, we didn't get as much resistance as one would have anticipated. But because the process was very transparent it worked out really well. We have this nice contrast of old and new.

The project's core is near a school that was empty for the past 13 years. Is vacancy an issue in the area as well? How did you select the project site? In the neighborhood, Manheim Park, 30 percent of the area for contains vacant lots or dangerous buildings. One block west of Troost it's much much different—maybe five percent vacant if that. We knew that we wanted it to be adjacent to public transportation nodes, we knew that we wanted it to be of a scale of existing buildings or of new construction, and we knew that we wanted to be part of a community that needed a hand up instead of a hand out. And all of that analysis lead to a couple of different sites in the Green Impact Zone. We went into GIS and mapped buildings over 10,000 square feet and transit nodes and then we overlaid vacant properties and the Bancroft just kind of emerged out of that mapping process. And we said, ok, the Bancroft school is one block away from rapid transit, it's one block from mixed-use retail that could be revitalized. It had the proper zoning, it had the proper access, it had a big enough scale building to be a catalyst and to be a visionary from the start. If we're going to walk out and be the first project in the area, we had to make a loud bang.

Farca furnished the living room with a Serge Mouille three-arm floor lamp, custom sofas from EF Collection, and Surface tables by Vincent Van Duysen for B&B Italia.

Oak veneer lines the stairwell in between the master bedroom and the children’s wing.

The master bedroom, painted in Whisper by Comex, sports a bed that Farca custom-designed as part of his EF Collection.

In the sitting area, two leather Paulistano chairs by Paulo Mendes da Rocha top a rug by Yerra; the wall paint is Comex.

Sarah Magill and Copa, her golden retriever, relax in the kitchen of her home in Kansas City, where an eco-quartz-topped island can be used as a dining table—one of the home’s many adaptable features. The Akurum cabinets and handles are from Ikea, as are the Franklin folding bar stools, and the appliances are compact models from Summit.

Farca also designed the custom millwork throughout the house, such as the swinging door leading into the dining room. The leather Siren dining chairs are by Holly Hunt.

A third-floor office, furnished with a Metropolitan chair by Jeffrey Bennett for B&B Italia, opens onto a deck that overlooks the backyard.

A pair of Ikea Expedit shelving units line one wall of the sleeping area.

Nadarajah decided to put windows where a backsplash might go in order to bring extra light into the kitchen. "The birch cabinets were custom-designed to be the length of a wok and the height of a cake dome," she says.

"I'm a foodie, so this kitchen [holds] a lot of fun dinner parties," Nadarajah says. The island is a deeper shade of birch.

The house features several courtyards, conveying an ever-present sense of indoor-outdoor living. Concrete walls are lined with yellow jasmine, and the wall sculpture is taken from Manuel Felguérez’s fence for the National Anthropology Museum.

The striking master bath is lined from floor to walls in silvery gray marble.

A vintage Lightolier pendant and sleek Arclinea cabinets by Antonio Citterio stand out against a wall paneled in reclaimed pine in the kitchen. Seating is a mix of Bertoia wire chairs and armchairs by the Mexican designer Hector Esrawe.