Purple thistles, California poppies, clover, and dandelions have all taken root in the roughly 10-inch-deep, lightweight humus and grape-husk soil in this 580-square-foot green roof. Designer Peter Liang says that he "wanted to plant a green roof for its thermal mass, but I wanted it to be as natural as possible."

Marrying the interior with the outdoors informed the design, as did the concept of subtraction: “If you do it with two, then you can do it with one,” Maniatis says, articulating Roger’s algebra of minimalism. Photo by: Kirk Gittings

Architect Hank Louis worked with Navajo tribe elders to secure a 66-year lease on a half-acre lot in the middle of Bluf, Utah, for Rosie Joe and her children. The facade of their off the grid house is made up of exposed wood, red rammed earth, and glass.

David Easton, a pioneer in the field of rammed-earth construction, developed sturdy blocks made from recycled and waste material and then used them to build a house for himself and his wife, Cynthia Wright, in collaboration with designer Juliet Hsu.

Roger and Mary Downey’s 3,200-square-foot rammed-earth home seems to float next to the forest along the Rio Grande in Corrales, New Mexico. While the home’s design and materials nod to the neighboring adobe farmhouses and agricultural sheds, architect Efthimios Maniatis of Studio eM Design calls them an amalgam of “modern contemporary regionalism,” governed by Roger’s strict mandate for minimalism.

An architectural designer and an artist harnessed the collective power of their design firm to remake a dilapidated mid-century gem into a hillside perch for their family.

Suzanne and Brooks Kelley at the back of their 1,100-square-foot guest cottage.

Baldwin Hills,back exterior of house taken at dusk

Asked to find an ecologically sustainable building solution, blaanc turned to a vernacular building technique that still thrives in certain pockets of rural Portugal, rammed earth.

The owners toured this home, which surrounds a mature tipu tipu tree, while visiting relatives for the day. The brick is original to the 1947 construction.

Sliding doors by Quantum were made to look like the original panes that couldn't be saved, and they lead to a fire pit outside.

At the top of the stairwell, a sitting area is outfitted with a vintage Eames lounge, a large Jack Goldstein painting, and a 1970s light fixture found by Marcovitz in Paris.

The view!

Easton and Wright in their dining room. The redwood flooring in the living and dining rooms continues onto the deck.

The kitchen features a concrete island topped with marble. Deja-Vu stools by Naoto Fukasawa surround the island. A print by Guy Gormley, as well as a painting bought during holiday in St. Tropez, hang on the walls.

Take a look at some of the most exciting, sustainable buildings around the world, and you may notice something they have in common: green roofs, or rooftops covered with a thin layer of soil to allow for grasses and other low-lying plants to grow.

New Depths Inspired by a local winery, George Kyprianou wanted a glass top on his subterranean wine cellar. The interior is lit, casting soft light into the living space at night and revealing the 132-year-old stone foundation. The three-quarter-inch glass lid sits flush with the floorboards; it opens with an ingenious device that Kyprianou devised using a 12-volt air compressor and a remote-controlled switch. When you push the button, the glass lifts just enough to be removed by hand.

Light Box Peter created a simple uplight at the top of the wood box by wiring together energy-efficient fluorescent fixtures typically used under cabinets and countertops. “The cheaper magnetic models hum unacceptably loudly, so make sure you get the electronic ballast types,” he warns. He then painted the cavity white to reflect light and covered them with quarter-inch-thick acrylic from TAP Plastics. homedepot.com tapplastics.com

The view of Kapiti Island is fully revealed from the tower.

Meeting Dieter Rams Always engaging, always insightful, and telling about his own personal style vis-a-vis his sartorial choices. (Buy his Nanna Ditzel-designing walking stick of choice here.)

The top container contains Wardell's office—and a "napping nook" above that.

In the dining area, a one-of-a-kind table with a reclaimed Carrara marble top by NET—themultidisciplinary design firm of architect Alejandro Sticotti, with whom Nicolas works—is surrounded by prototypes of the company’s Board chair. The family dog, China, sits on a floor made of travertine tiles.

The architects added a small circular skylight to serve as a vertical focal point in the center of the fifth floor. The quarter-sawn white oak risers produce a beautiful rippled grain highlighted by the abundant natural light.

Frank Vafaee, founder and CEO of Proto Homes.

The Kelleys furnished the cottage with help from Suzanne’s daughter Betsy Burbank of Betsy Burbank Interiors. Classic modernist icons, such as a Saarinen Womb chair for Knoll, a Herman Miller Eames lounge chair, and an Eileen Grey E1027 side table look at home alongside present-day pieces such as an Encore sofa (which handily folds down into a sleeping surface) from Room & Board and a Doka rug designed and produced by Stephanie Odegard. The Wohlert pendant lights from Louis Poulsen were designed by Vilhelm Wohlert in 1959, but grouped as such, they appear distinctly contemporary.

The yellow North Face tent looms over the top of the main building.

Yvette, Adrian, and their son Julian survey the view from the top-floor terrace. “I’ve never been fond of modernism—I find it cold,” Adrian admits. “But having this house, I have to say, it’s growing on me.”

Still, it’s possible to remove or relocate non-structural walls in a home with good bones.

The master bedroom occupies a private space on the top floor.

Beyond the gas fireplace by Spark Fires, a Ball pendant lamp by George Nelson hangs over a custom cedar table in the dining area.

A Nelson jewelry cabinet and Massimo Vignelli lamp.

The Piranesian view upwards through the central stair to the top floor skylight.

Above the 606 Universal shelving by Dieter Rams for Vitsœ, Molineus displays a Central Asian ikat wedding garment that dates to around 1900. The Gaku floor lamp at left is by Dagmar Mombach and Ingo Maurer.

In an architectural sleight of hand, the building—despite its massive walls—seems to hover over a hidden foundation. Photo by: Kirk Gittings