"Architecture is the will of an epoch translated into space" -Ludwig Mies van der Rohe

At the end of a steep driveway, off a road less graveled, await the happy innkeepers: Chris Brown, Sarah Johnson, and Michael and Joshua, two of their three sons.
Inspired by coffered ceilings, Iwamoto and Scott used paperwood, a micro-thin wood veneer laminate on paper, to create a reinterpretation of the chandelier. Theirs, however, is the entire ceiling.
One Kearny Lobby

San Francisco (2010)

In this privately owned building with a public event space on the top floor, the trick was to design a path from the lobby that could also attract attention from the curb. Otherwise, “it felt like a normal office building and was not that welcoming,” says Iwamoto.
Construction did involve something of a sleight of hand: the coffers are made without any mechanical fasteners like screws, but held in place by folding and gluing the material onto itself. When the ceiling is “on,” it emits a luminous glow.
Voussoir Cloud

Los Angeles (2008)

IwamotoScott was commissioned by the SCI-Arc Gallery of Southern California Institute of Architecture to do an installation for its prestigious architectural series that acts as an incubator for new ideas.
The technique’s perfect for projects involving various sized parts—this one contained four different shapes. Also, the required amount—some 10,000 pieces—were also conducive to the technique. “To cut it by hand would be time prohibitive,” says Iwamoto, “and to create a dye would be too expensive. This was the perfect sized batch for digital fabrication.”
Wurster Cloud Installation

University of California, Berkeley (2012) 

To shade graduation ceremonies for UC Berkeley’s College of Environmental Design, Iwamoto and the 24 students in her digital fabrication seminar created a canopy outside Wurster Hall.
The project proved to be the perfect “teachable moment” for the professor: the light and airy structure made by stringing together heavy-grade Mylar shapes demonstrated the ideal use of digital fabrication.
The structure sits among the trees on the three-acre site. “The elevation is 6,600 feet—you can sit outside even in winter,” says Hawkins. “There’s a lot of outdoor space, which helps tie the project to the property. The design was all about fitting it into the environment.”
Working within the restraints of the sometimes-severe Mumbai weather and around the city's great architectural varieties, not to mention the existing coconut palms and banyan trees, architectural firm Khanna Schultz constructed a 27,000-square-foot-plus, seven-unit modern apartment building with a striking open-air base. At front is the street-side boundary wall made up of a stone base and a planter on top, which is meant to fill in with foliage over time. The curved base of the building is cantilevered about 10 feet. "This has to do with zoning and fire codes," notes Schultz. "But since you don't see the columns, it seems like the whole building is floating."
Pieces from Lawrence’s voluminous archive act like unintentional architectural ornaments, bringing color and humanity to the often Spartan LOT-EK design.
"The design for the Hanwha HQ media facade aims to avoid an overstated impact," says UNStudio founder Ben Van Berkel. "In the evenings, as the mass of the building becomes less apparent, the facade lighting integrates with the night sky, displaying gently shifting constellations of light."
This stunning concept, a bid to design a future-forward skyscraper for Stockholm, appears like a kind of living building, with the terraced, diamond-shaped facade that acts like a multi-story trellis. Berg | C.F. Møller Architects conceived of this 34-story structure as a beacon, and its airy form and clean finish certainly would stand as a shining example of the Scandinavian aesthetic.
Roy Kim (@roykimdesign) of Douglas Elliman (@douglaselliman) and Dror Benshetrit (@drorbenshetrit) discussed the future of high-rise living in The New Skyscraper panel.
A detail of the towers' facade.