Conceived as a futuristic vision of a traditional garden room, the top floor blends indoor and outdoor spaces, including a vast terrace offering panoramic views of the city. Housing a convivial bar and lounge, this is an ideal place to relax after visiting the exhibitions and share the experience with friends. Exposed concrete walls can also be found here, in this case juxtaposed with plush fabrics, vibrant green and yellow tones, and curvaceous forms courtesy of playfully designed furnishings. Finally, a VIP room boldly swathed from floor to ceiling in red tones further underscores the entire scheme and its overall objective to create a unique and memorable experience.
Fotografiska Shanghai is more than just a museum; it’s a cultural hub that is destined to host workshops, lectures and events, with the aim of fostering a community of artists, enthusiasts and curious minds who share a passion for photography. This new and important outpost in China ultimately serves to solidify Fotografiska's ever expanding significance as well as role as a global leader in the world of visual art and cultural exchange.
In the coastal town of Chonburi, Thailand, a visually-enticing café named Harudot has emerged as a must-visit for coffee lovers near and far. The café is a clever blend of architecture, nature, and culture crafted by IDIN Architects. Born from a collaboration between the owner of Nana Coffee Roaster and the plant-loving landlord, Harudot is a fusion of ideas reflected throughout the design and ambiance of the destination spot.
The design incorporates three simple, black gable forms that exude a humble yet sophisticated aesthetic, influenced by Japanese culture. In contrast, the interior features warm pine wood walls, creating a cozy and inviting atmosphere. The transition from the exterior to the interior is a journey in itself, with spaces that morph and bend, leading visitors deeper into the café and unveiling new experiences at every turn.
One of the most captivating features of Harudot is the integration of a baobab tree within the structure. Planted in an inner courtyard, the tree appears to grow through the building, symbolizing life and growth. The gable roof forms are intentionally separated to allow the tree to rise toward the sky, creating a dynamic visual connection between nature and architecture.
Harudot is designed on a human scale, with smaller, distinct zones that serve various purposes. These include a bar, a coffee drinking area, a lounge, a meeting room, and restrooms. Each of these spaces is thoughtfully designed, with the gable roofs pulled apart in places to create voids that allow sunlight and rain to enter, maintaining a strong connection with the natural environment. These voids also introduce curved forms that add a sense of movement to the structure.
Inside, the café’s ceilings feature Barrisol stretch materials that diffuse light, creating a warm and softly lit ambiance. This design element echoes the exterior voids, visually and conceptually linking the indoor and outdoor spaces. The seating arrangement, resembling a continuous ribbon, enhances the flow within the café. Outdoor seating, made from resin mixed with coffee grounds, rice, and leaves, ties back to the café’s coffee theme, adding another layer of thoughtful detail.
Graphic elements within Harudot further enhance its unique identity. Custom-designed fonts and signs inspired by polka dots and the spring season add a playful touch. The terrazzo flooring, with circular separations and embedded quotes, leads visitors to different areas of the café, while flower petal patterns radiate outward, creating a whimsical connection to the outside world.
Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.
“You only live twice, or so it seems” – at least, that is, if you are the work of the late illustrator John McLusky, creator of the popular James Bond newspaper cartoon strips. His dynamic, almost-forgotten drawings brought a reliable touch of glamorous machismo into the lives of readers of the Daily Express between 1958 and 1966, and are now to stir again.
The Los Angeles archives devoted to the glittering history of the Oscars will display McLusky’s influential images alongside other mementoes of the film franchise, which was based on the spy novels of Ian Fleming a former British intelligence officer.
“I’m very proud they will be seen again, as part of film history,” said Sean McLusky, son of the artist. “He did such an excellent job, my dad. He nailed the look and the more you look at the drawings the more you can see how much work it was to get everything across.”
After contacting the archives through a London gallery, McLusky and his brother, Graham, have donated images that relate to some of the most famous early Bond films made from the thrillers and the comic strips – images that reveal a couple of undercover secrets of their own.
Dr. No James Bond drawings by John McLusky.
Not only does the graphic storytelling closely foreshadow the shape and look of the film Dr. No, made in 1962, but the depiction of Bond himself is also strikingly familiar. McLusky’s rugged, swarthy version of Fleming’s suave and violent hero bears a strong resemblance to the actor Sean Connery, one of the first actors to play the part, and for many older fans, the one who defined the role. This is not a coincidence.
“My dad had the same agent as Connery, a man called Leslie Linder, who was a film producer too,” McLusky said, “and we later heard from him that he had been given the nudge to the actor to audition for the role because he looked so like the newspaper cartoon character.”
You Only Live Twice, James Bond drawings by John McLusky.
The film-makers also appear to have lent heavily on his father’s images. “The museum has taken one from every Fleming film and this makes sense because, from what I know, when they were making Dr. No, which was quite a low-budget spy movie at the time, they pretty much used my dad’s comic story as the storyboard.
“The framing of the images and the pacing are very similar. They really took on and adapted his vision in the early films, except of course the 1967 David Niven film of Casino Royale, which was just a romp really.”
McLusky, born in Glasgow and raised in Yorkshire, had moved to London to study at the Slade School of Fine Art. He had also worked for Bomber Command during the second world war, drawing aircraft manuals and training materials and posters.
On Her Majesty’s Secret Service by John McLusky. Photograph: John McLusky
“He was a jobbing graphic artist in London by the time I was born and so in search of a regular job,” said McLusky, a music promoter who grew up in Hertfordshire with his father and mother, Sheila, a costume designer. “He happened to hit on the Express at the right time. The editors had a look at his work when they had just completed the deal with Fleming for the rights to run a strip based on his characters.”
Fleming had initial concerns about the idea, once writing of his fear that the comic strips would bring down the standards of his future writing. However, the eventual artwork was created with his permission by McLusky in collaboration with a succession of three writers who each condensed different stories.
Unusually, McLusky kept ownership of the artwork and so the family have been able to gift the strips to the Margaret Herrick library in Beverly Hills, the archives run by the Academy of Motion Picture Arts and Sciences, the organisation behind the Oscars.
“The academy has just accepted one of only eight full sets of drawings that McLusky made for Fleming between 1958 and 1966,” said Fraser Scott, of the online A Gallery , which helped make the gift. “I’m very pleased they will now be on show where they should be.”
McLusky himself, in a final plot twist, was quietly not so fond of his Bond drawings. “He started out sticking closer to what Fleming said he wanted,” said his son. “But then he updated them a little, I think. He called Bond ‘Jim’, and said he was just a misogynist hitman. Later on my dad did much softer work, like children’s drawings of the Pink Panther or Laurel and Hardy for the magazine TV comic. He preferred that stuff.”
The Bond films, first made by Cubby Broccoli and then by his daughter Barbara, and now produced jointly with EON Productions, are commercial juggernauts. But their Oscar record is less glittering. The teams behind the special effects, the sound and the theme songs, rather than their stars or directors, have more often been honoured.
Heatherwick Studio’s New Design for Shopping Center in Seoul
Heatherwick Studio unveils a rippled hourglass-shaped design for Hanwha Galleria, the famed shopping center in Seoul. The proposed design features two symmetrical crystalline buildings with illuminated atria and plant-filled rooftops. Their undulating glassfacades create a soft, glistening effect during the day. This design emerged from a competition aimed at reimagining six sites in the South Korean capital. The brief called for a concept that would challenge conventional notions of luxury department stores and affirm South Korea’s growing influence as a global cultural powerhouse. The project also follows the recent announcement of the appointment of Thomas Heatherwick, the studio’s founder, as General Director of the fifth edition of the Seoul Biennale of Architecture and Urbanism, to be held in 2025.
Hanwha Galleria, situated at a major crossroad with views of the Han River, is located in the Apgujeong-dong neighborhood of Seoul. The project serves as a focal point between the residential and shopping districts of Gangnam and aligns with the city’s vision to revitalize the Han Riverbanks. Heatherwick Studio’s design redefines the store’s connection to the local area by transforming the façade and surrounding spaces into public areas accessible to everyone, whether they are shopping at the mall or simply enjoying the vicinity. This approach contrasts with traditional, inward-facing shopping centers, fostering a more inclusive and integrated urban environment.
‘Traditionally, department stores are quite inward facing, they feel closed off to the surrounding streets. But here we have an important intersection in Apgujeong with two buildings, east and west, that felt like an opportunity to bring people together,’shares Neil Hubbard, partner and group leader at the British architecture studio. ‘Combined with Hanwha’s ambition to bring more activity to the buildings, we wanted to provide a strong overall silhouette that creates a gateway, but also gives Seoulites new garden-like spaces to meet, shop and enjoy their city.’
Rippling Silhouettes and Elevated Green Spaces
The Galleria features two symmetrically opposed twin buildings—similar but not identical—connected by an underground passage. Above ground, their silhouettes mimic rippled hourglasses, with the narrower sections serving as nature-filled public spaces. At street level, the distinctive shapes of the buildings align to frame views of the Han River through and between them. As visitors ascend from the redesigned subway entrance, they are welcomed into airy, light-filled atria that lead to landscaped plazas on the ground level. Their journey continues to an open mid-level garden with cafes, restaurants, and shops. The plant-filled rooftops offer additional green spaces, and together with the glass façades, provide varied viewpoints and reflections of the city. These outdoor areas are designed to showcase natural beauty throughout the year with a selection of native plants and thoughtful landscaping.
Both buildings feature a double-layered skin, enhancing sustainability and providing a platform for art exhibitions and events. The crystalline glass exterior imparts a sense of softness during the day, while at night, the outer layer transforms into a vibrant backdrop for glowing projections.
Nestled in the Sydney suburb of Castlecrag, a bushland peninsula in the north of the city dotted with eucalyptus trees and rocky scarps, boasting scenic views of Middle Harbour, this family home by Sydney-based studio Downie North harmoniously engages with its natural surroundings. Part concrete refuge, part airy tree-house, the house provides both a sense of protection and an immersive connection with the natural setting that surrounds it thanks to a clever layout interweaving indoor and outdoor areas, a balance of intimate and social spaces, and the strategic framing of views.
The clients, Isaac and Mee, provided the architects with a straightforward brief: they wanted a robust and functional home that would accommodate their family of seven, which includes their three children and two Akita Inu dogs, Emiko and Nobuhiro. Initially, altering the existing house was considered after which a decision was reached after the realisation that building a new, albeit smaller, house would actually better serve their needs; a decision that ultimately allowed for a more connected home which not only responded thoughtfully to the site's views, but the surrounding vegetation, and even microclimate.
As New York City’s inaugural cat cafe that launched nine years ago, Meow Parlour isn’t just a trendy spot for feline fanatics; it’s a haven dedicated to the well-being and adoption of its furry residents. Now in a new location on the Lower East Side of Manhattan designed by Sonya Lee Architect, the Meow Parlour offers a sanctuary where cats and humans come together to play, relax, and form lasting bonds.
At the core of Meow Parlour is its mission to care for vulnerable cats. This non-profit organization provides a holistic approach to feline welfare. From intake and fostering to addressing behavioral and physical issues, every cat at receives comprehensive care. Their residents range from those with medical needs, including FIV-positive and diabetic felines, to those harder to adopt out, like black cats, three-legged wonders, and seniors, each finding a safe and loving environment within the cafe’s walls.
Meow Parlour’s design is a whimsical wonderland, perfectly tailored for both cats and their human visitors. The lounge area is divided into two main sections, each brimming with charm and creativity. The front room features four large booths, connected by a network of portholes and shelf mazes. This setup allows cats to dart in and out, providing endless entertainment for visitors as they relax and enjoy the playful antics around them.
Dominating one wall of the front lounge is a 10-foot-high climbing structure formed by white oak shelves spelling out “MEOW.” This cat-friendly installation serves as both an agility test and a lazy lounging spot for the cafe’s feline inhabitants.
The second lounge space continues the whimsical theme with a large herringbone-patterned bookshelf wall. This multifunctional installation not only displays books and cat-related paraphernalia but also doubles as a climbing maze for the cats. Visitors can sit on alternating cubby benches, watching the cats frolic above and around them.
A wooden “tree” stands at the center of the second lounge, its branches adorned with donor dedication leaves from supporters around the globe. This tree provides yet another climbing and resting spot for the cats, complete with hanging hammocks where they can lounge and observe the busy cafe below.
Beyond its thoughtful, cat-inspired design, Meow Parlour offers a variety of programs throughout the week, from children’s play sessions and yoga with cats to large educational conferences like Cat Camp.
Supporting the main lounges are rooms for veterinary visits, storage, and supplies. Enhanced ventilation systems ensure a healthy environment for both the cats and their two-legged visitors.
No visit is complete without a trip to their retail space. Open shelves and playful wallcoverings showcase a variety of locally sourced, handmade cat toys, clothing, and souvenirs. Visitors can also enjoy delicious baked goods and beverages, all while seated in a cozy cafe area designed for comfort and relaxation.
The storefront of Meow Parlour stands out with large block letters spelling “MEOW.” These letters serve a triple purpose: as signage, a play space for the cats, and a countertop display. Inside, a dedicated room offers a quiet retreat for cats needing isolation, ensuring every resident’s needs are met.
Meow Parlour is located at 43 Essex Street on the Lower East Side of Manhattan between Grand and Hester. With limited space available, Meow Parlour recommends pre-booking visits via their website.
For more information about Meow Parlour or how to support the work they do, visit meowparlour.com. To see more projects by Sonya Lee Architect, head to sonyaleearchitect.com.
Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.
Around 1637, the Baroque “superstar” artist Gian Lorenzo Bernini created his first, and only, non-commissioned sculpture: an intimate portrait of his lover, Costanza Piccolomini. Captured for eternity, the smooth contours of her face are chiselled with a tender sensitivity, there is a softness to Costanza’s flesh, a sensuality to her slightly parted lips, and her chemise falls invitingly undone. Yet, there appears to be a defiance too, as if Costanza is about to deliver a witty riposte or give Bernini a piece of her mind.
Costanza by Rachel Blackmore.
Hers is also a sculpture which changed the course of art history. Marble busts of living women were relatively rare in the early 17th century, and usually of noblewomen, following strict rules of modesty and decorum. By contrast, Costanza was relatively poor, the wife of one of Bernini’s assistants. Her portrait introduces an unprecedented level of raw expression, capturing Costanza’s vitality, and Bernini’s naked desire. As the historian Simon Schama once said, it is “the sexiest invitation in the history of European sculpture”.
At the time the portrait was sculpted, Costanza was around 23 and Bernini about 40, at the apex of his power, feted by princes and popes for his ability to conjure art full of theatre, emotional intensity, and dynamism. The couple’s affair was wild and intemperate. Years later, Bernini’s son described his father as having “lost his head to this woman”, when recounting the brutal dénouement of their relationship. For just months after lovingly carving Costanza’s face in marble, Bernini ordered it to be slashed with a knife by one of his servants.
I first heard Costanza’s story in a documentary about Rome. Two male presenters discussing Bernini’s undoubted genius made a passing remark about the disfigurement of his mistress, before returning to his virtuosity once more. She was not even named.
This anonymous woman haunted me. After researching and discovering Costanza’s story, I felt compelled to tell it. She was not just Bernini’s lover and muse, but a woman with agency, whose own narrative deserved to take precedence. I wanted to free Costanza from the male gaze which has clouded our view for the past 400 years.
Writing Costanza was also a way for me to examine the ways in which male coercion and violence are still used to control women today. Recent UK figures show that acid attacks and other offences involving corrosive substances rose by 75% in 2023, with girls and women increasingly targeted. It’s almost 14 years to the day since Time magazine featured Bibi Aisha, an 18-year-old Afghan woman whose nose and ears had been cut off by her husband as punishment for fleeing their abusive marriage. The world’s outrage was palpable, yet few realised this vicious act has deep, complex roots stretching back centuries, across cultures and continents.
In classical times, facial disfigurement was used as a political tool against opponents. Virgil writes of the adulterous Deiphobus losing his nose for forcing himself upon Helen of Troy. Byzantine Emperor Justinian II’s rule of terror came to an end when he was deposed and his nose cut off; a mutilated leader being unfit to rule.
Bibi Aisha, an Afghan woman, was disfigured by her husband after she fled their abusive marriage. Photograph: Lynsey Addario/Getty Images
In classical Greek art, the nose often represented character, reflecting a person’s moral and psychological makeup. Nasal mutilation was therefore not merely a physical injury, but a catastrophic blow to one’s identity. The repercussions were severe enough to drive early civilizations to seek ways to mask or repair such disfigurements through prosthetics or rudimentary reconstructive surgery.
By far the most common use of facial disfigurement, however, has been to punish women deemed to have transgressed societal sexual norms. In the Old Testament, God tells Egyptian sex worker Oholibah that her lovers will “cut off your nose and your ears”. While nose cutting was codified into English law in the 11th century during the reign of Cnut, recent archaeological evidence suggests facial mutilation had been used as a punishment far earlier.
A recent re-examination of a skull found in Oakridge, Hampshire, in the 1960s revealed that the victim – a girl aged between 15 and 18, who lived between AD 776 and 899 – had her nose and mouth cut off. She had possibly been scalped too. The nature and placement of the wounds – deliberate and highly formalised – suggest they were inflicted by a sharp, thin-bladed knife, possibly punishment for actions perceived as deviant, such as sexual misconduct.
A lack of similar documented cases makes it difficult to determine how widespread this practice was, but we know in 14th century Germany nose cutting was most commonly used in cases of adultery, and in Augsburg it was used as a threat against prostitutes for appearing in public at certain times.
Gian Lorenzo Bernini, a self-portrait from about 1635. Photograph: incamerastock/Alamy
By Costanza’s time in the 1600s, the act of face slashing as a punishment for erring wives was widespread in Italy. Referred to as sfregio – meaning the act of cutting and the resulting scar – such punishment had particular resonance. In the Renaissance and Baroque periods, a woman’s beauty was revered as an indication of her honour and virtue. Beauty was also feared, often cited as the cause of inappropriate male behaviour.
While researching Costanza’s story, I read Jane Monckton Smith’s book In Control, which presents a groundbreaking thesis on intimate partner violence and control. Monckton Smith challenges the traditional perceptions of such violence as unpredictable and impulsive; the so-called “crime of passion”. Instead, she argues this behaviour often follows a predictable pattern, which, when understood, can spur intervention and prevention. In Control identifies an eight-stage progression, from a pre-relationship history of control, through early relationship dynamics, triggering events, escalation of control tactics, a crisis point, finally leading to violence.
Which brings us back to Costanza. Over the last 400 years, Bernini’s behaviour has often been explained or excused as succumbing to a “moment of madness”. My belief is that it was more invidious and inevitable than this. Chillingly, when writing Costanza, I saw that Costanza and Bernini’s relationship tracks so strongly against the eight-stage homicide timeline that I could use the trigger points partly to plot the novel.
I hope that in writing Costanza I have given voice to a complex unravelling of events, one which might just help us to understand, then guard against, a new generation of men controlling female bodies in these ways.
Costanza by Rachel Blackmore, published by Renegade Books, is out on 1 August
Skip and Arc’teryx team up for MO/GO, a pair of powered exoskeleton pants that give hikers a boost when they trek up and down hills and mountains. The pants come from the Canadian apparel company, while the carbon fiber-made wearable technology is the brainchild of the California-based startup. When hikers wear the Arc’teryx pants, Skip’s powered exoskeleton on the sides lights up and boosts their legs by up to 40 percent, making them walk lighter.
This can also make them feel 30 pounds lighter as they move upward. When they go down, MO/GO gently supports the hikers’ knees to prevent them from slipping and exerting too much effort. The wearable technology aims to lessen muscle fatigue and joint discomfort by augmenting their quadricep and hamstrings. The wheel of MO/GO conceals the motors of the powered exoskeleton pants. As hikers move, the wheel spins or turns, depending on the movement, which triggers the boost needed for the trek.
all images courtesy of Skip Innovations
powered exoskeleton pants with wearable technology
In a nutshell, the motors in MO/GO give more power to the hikers’ leg muscles, the quadriceps and hamstrings. For Skip Innovations, their wearable technology may be helpful for people who could use some extra help in those areas of their bodies. This is especially true for those who may find themselves limited by knee pain, muscle weakness, or cardiovascular fatigue but still want to trek or hike. The California-based startup, which was formed after the team worked together at Google X, feels that their powered exoskeleton pants can help people enjoy moving up and down hills, and even stairs, with less effort.
On that note, the technology team states that MO/GO isn’t a medical device. ‘We are not making any medical claims at this time. We are partnering with several leading clinics to develop a related product specifically designed to help people living with neurological conditions, such as Parkinson’s Disease,’ they add. The powered exoskeleton with pants from the Canadian apparel company Arc’teryx is not yet on the market. On the other hand, Skip Innovations offers testing of their medical prototypes to those who live in Northern California and are interested in trying them.
Skip and Arc’teryx team up for MO/GO, a pair of powered exoskeleton pants
rechargeable battery for MO/GO pants
More about its features, MO/GO comes with a rechargeable battery pack that can last for three hours on a single charge during intense uphill walking at maximum assistance. Skip Innovations says it is around six miles for most people. The battery doesn’t use up its energy with smaller inclines and when hikers choose a low amount of power assistance. The wearable technology has a minimalist interface. There are only three buttons on the side of the powered exoskeleton: on/off, more assistance, and less assistance. With less assistance, the battery can last longer.
In case hikers don’t want any assistance at all, they can snap off the powered exoskeleton from the Arc’teryx pants and go on their way as usual. When it comes to the fit, MO/GO has a range of 10 sizes, and the California-based startup is looking more into sizing and potentially expanding the series. Included so far in the pack is a pair of lightweight, breathable summer Arc’teryx pants, but Skip Innovations says they expect to offer more, including ski pants. As of publishing the story, the powered exoskeleton pants MO/GO are available for pre-order, with the expected date of shipment in 2025.
the powered exoskeleton pants that give hikers a boost when they trek up and down hills and mountains
Skip’s powered exoskeleton boosts hikers’ legs by up to 40 percent, making them walk lighter
when they go down, MO/GO gently supports the hikers’ knees
London-based architectural practice Bureau de Change has established a reputation for using traditional crafting techniques in fresh, innovative ways and introducing a rhythmic sense of motion in their projects, and have applied these principles to this building conversion in London.
In the picturesque foothills of Boulder, Colorado, the Hi-Hat House stands as an example of adaptive architecture and design ingenuity. Designed by architecture firm FLOWER, this cozy home for empty nesters is a blend of modular design principles and traditional building techniques. Originally conceived as a home to be assembled from pre-fabricated units, Hi-Hat House underwent a significant transformation during its construction journey. While the design was tailored for factory production and transportation on standard truck beds, the team ultimately decided to build the house modules on site. This strategic pivot, driven by prohibitive costs associated with shipping and craning the units, allowed the project to retain its modular design integrity without compromising on cost-efficiency.
Hi-Hat House comprises six distinct ‘modules’ anchored on a site-built foundation and garage. The upper-level units encompass the heart of the home: the kitchen, dining, and living areas, along with the primary suite, mudroom, and formal entry. The lower-level modules feature a family room, mechanical spaces, guest bedrooms, and a shared bathroom.
Safety is also a paramount consideration, given the home’s location in a wildfire-prone area. Noncombustible exterior cladding, decks, and roofing materials provide an additional layer of protection, ensuring the home is as resilient as it is beautiful.
The interior of the Hi-Hat House features exceptional craftsmanship and design details. Throughout, built-ins, warm wood floors, paneled walls, custom cabinetry, and wood ceilings create a cohesive and inviting atmosphere. Floor-to-ceiling windows and sliding glass doors keep the interior saturated with natural light while framing views of the local Colorado landscape.
The exterior brickwork extends indoors, enhancing the custom slatted wood screens and an expansive, U-shaped built-in sofa. The home’s overall small footprint, compact building envelope, and radiant heat systems, contribute to the home’s energy efficiency.
A unique artistic note runs through Hi-Hat House, featuring the paintings of mid-century artist Milton Wilson. His vibrant works are prominently displayed, with a large canvas in the dining room, two vertical paintings in the stairwell, and another piece in the living room.
Bespoke wooden cabinetry with a built-in refrigerator and storage adds warmth to the all-white kitchen. Oversized wooden handles on the fridge add a dramatic touch to the flat, minimalist surface.
The decision to build Hi-Hat House on site, despite initial plans for modular construction, highlights a critical insight from the FLOWER team: while modular design can expedite timelines, it doesn’t always translate to cost savings. When faced with the financial implications, the team chose to prioritize budget over speed, demonstrating flexibility and strategic thinking. This decision was made even after securing permits for the modular approach, underscoring the project’s adaptive and resilient nature.
Along with FLOWER in charge of the architecture, the project was collaborative with Kimball Modern handling the interior design, Marpa Landscape Architecture tackling landscaping, and Buildwell as the general contractor.
Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.
