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In an area of Sendai City where condominium development is gradually progressing, we planned a branch office for Osaka Lightning Rod Industry, a specialized manufacturer of lightning protection equipment. At many of the company's previous branch locations, workspaces were divided across multiple floors, which hindered active communication. Furthermore, the company's operations span a wide range—from sales consultations and ordering to inventory management, assembly, transport, and onsite work—creating a need for a cross-functional, easily interconnected workspace. Inspired by the structure of a lightning rod, in which a collection of small parts forms a unified whole, our goal was to create a new workplace where individual spaces (the parts) and the overall space (the whole) maintain a tight relationship.

María’s House was born without a budget, in an adverse context, but with a clear purpose. Located in the working-class neighborhood of La Gatazo, in southern Quito, it emerged in the aftermath of the pandemic as a response to the neglect and vulnerability of an elderly woman whose home was on the verge of collapse. The project was conceived as an exercise in empathy, understood not only as design, but as action, self-management, and social commitment.

There is a standard way of telling the history of architecture and food. It begins with the human decision to cultivate, to store, to distribute, to consume, and ends with the building that decision produced. In this version of events, food is the occasion and architecture is the response.

The project was to transform a 55sqm 2-bedroom located in southern Taiwan into a suite for one, including a small work area; an opportunity to rethink an ideal space for the increasing modern single.

Saddleback Mountain House is the result of eight years of planning and construction to fulfill a family's dream for a home that would support their growing children and a lifestyle strongly connected to the outdoors. From the beginning, the clients asked for a house that responded directly to its landscape, using robust materials and passive design principles to create a sustainable home that would endure and adapt over time. 

Following the successful transformation of a family-owned inherited site into a destination that has generated a positive impact within the local community and established a thriving family business through distinctive architecture, NAYA Café Ayutthaya entered its next phase of development. The expansion sought to accommodate a wider range of visitor experiences and programmatic needs, leading to the creation of NAYA Café & Restaurant Ayutthaya.

This renovation project in Madrid arises from a simple idea: to surprise. The client had a clear vision: they wanted the home to have a fragmented layout, with independent spaces that provided intimacy to the different areas of the house.

Michael Taylor Architecture + Design was asked to build a quiet rural retreat for a couple the firm already knew, having earlier completed their condominium interior in busy downtown Toronto. The new site could not be more different: a heavily treed slope rising steeply above a calm lake, with a private beach below dotted with old tree stumps. The property occupies the shoreline of Percy Lake, close to Algonquin Park, Ontario. Its bedrock is Canadian Shield granite and stretches of that stone appear across the grounds and have been incorporated into the landscaping.

Architecture continues to draw cities as though humans occupy them alone. Plans trace circulation routes, zoning maps assign functions, and buildings are evaluated according to human comfort, safety, and efficiency. Walking through cities across India and Southwest Asia reveals something much more complex. Dogs sleep beneath market stalls, monkeys move across rooftops, birds nest in temple towers and mosque façades, and insects pollinate urban landscapes hidden in plain sight. These species are woven into daily urban life as consistently as human occupants. Streets, courtyards, roofs, drainage systems, markets, and vacant lots are already occupied by multiple spe

Eight years after its founding, amass undertook a renovation of its own workspace. The project was not driven by a need for expansion, but by a reconsideration of how the studio works: when a space must continuously adapt to new projects, materials, and modes of collaboration, are the fixed and irreversible elements of conventional fit-outs still necessary?