Real estate, as they say, is a local business. Every market has its local nuances. For example, once of the first things that Studio Gang asked us when we started working together was, "does Toronto do PT?" What they were referring to was post-tensioned concrete and our answer was, "not really." There are certainly examples of localized applications within buildings (such as for a specific transfer slab) and there are examples of buildings that have used it throughout (see Pier 27 Tower below -- it's how they managed to get such deep balconies). But for the most part, it's not widely used and it's certainly not as common as it is in markets such as New York. This subtle difference has an impact on how you design, which is why Studio Gang asked it from the outset.

Despite some of these local differences, there is a criticism out there that we have descended upon a kind of bland global design sensibility. No matter where you're building, every building now looks the same, which, at the end of the day, was kind of the point of the International Style of architecture. One design approach applied universally. This recent article by Edwin Heathcote takes things even further by saying that our interiors have also been sterilized to look more or less the same as a result of "digital aesthetic seepage." The article is called, "The curse of the Airbnb aesthetic."

One the one hand, there is something inevitable about this outcome. We -- including our supply chains -- have become more interconnected than ever. And because of the high cost of labor, the way we build today is centered around as much factory automation as possible. Minimize what needs to be done on site. And given that I would expect more, rather than less, automation going forward, one has to assume that this trend is destined to continue. At the same time, local places matter and one of the reasons why so many of us love to travel is that we want to see places that are different than our own. I for one don't want that to change.

Joshua Levine's recent (WSJ Magazine) piece on John Pawson, -- the architect who "elevated nothingness to an art" -- is a good read.

It's mostly about the country retreat that he recently completed for himself and his wife in the English countryside, but there's also lots about his minimalist architecture, his career, his work with hotelier/developer Ian Schrager, and his passion for photography.

I like this bit about architectural simplicity. The great irony of minimalism, and the reason why brands such as Calvin Klein and Jil Sander began working with John Pawson to leverage his aesthetic, is that it's often more difficult to do less. Getting the details right costs money. Hence this great line from the New Yorker:

As the New Yorker cartoon put it, “Only the rich can afford this much nothing.” Don’t expect a rebuttal from Pawson. “It is big, and it is expensive, you know. It’s sophisticated architectural simplicity. This isn’t a religious thing, and it isn’t as simple as you can go. You can go a lot simpler than this.”

I also like what the following says about labels and what it means to be defined as something:

Slowing down for Pawson isn’t all that slow. He takes photos constantly and has always used the camera as his third eye. In 2017, Phaidon published Spectrum, a book of his photos, many of them first posted on his Instagram (“I said, ‘Well, I’m not a photographer,’ and they said, ‘You are a photographer,’ so now I’m a photographer”).

Click here for the rest of the article from WSJ Magazine. And if you aren't familiar with John Pawson, here is his minimal website.

Photo: Max Gleeson (Armonia Apartments designed by John Pawson)

A few weeks ago Surface Magazine interviewed Ian Schrager. If you don’t know who Ian Schrager is, you should look him up. He started Studio 54 in New York (along with Steve Rubell) and is largely credited with inventing the boutique hotel genre. His latest project is Edition Hotels, which launched in London in 2013 and in Miami in 2014.

What I found particularly interesting about the interview are the “serious snafus” that Edition experienced at the outset. There was a project in Waikiki and a project in Istanbul. Both failed. Here’s a guy who invented the genre and had partnered up with Marriott to pioneer a new brand. And it wasn’t until Edition London that they were able hit their stride.

I say all of this not to poke fun at their failures. Nobody should do that. Poke fun at not trying instead. My point is the exact opposite. To create something new and amazing, such as Edition, you often have to subject yourself to a few scrapes and bruises along the way.

Real estate, as they say, is a local business. Every market has its local nuances. For example, once of the first things that Studio Gang asked us when we started working together was, "does Toronto do PT?" What they were referring to was post-tensioned concrete and our answer was, "not really." There are certainly examples of localized applications within buildings (such as for a specific transfer slab) and there are examples of buildings that have used it throughout (see Pier 27 Tower below -- it's how they managed to get such deep balconies). But for the most part, it's not widely used and it's certainly not as common as it is in markets such as New York. This subtle difference has an impact on how you design, which is why Studio Gang asked it from the outset.

Despite some of these local differences, there is a criticism out there that we have descended upon a kind of bland global design sensibility. No matter where you're building, every building now looks the same, which, at the end of the day, was kind of the point of the International Style of architecture. One design approach applied universally. This recent article by Edwin Heathcote takes things even further by saying that our interiors have also been sterilized to look more or less the same as a result of "digital aesthetic seepage." The article is called, "The curse of the Airbnb aesthetic."

One the one hand, there is something inevitable about this outcome. We -- including our supply chains -- have become more interconnected than ever. And because of the high cost of labor, the way we build today is centered around as much factory automation as possible. Minimize what needs to be done on site. And given that I would expect more, rather than less, automation going forward, one has to assume that this trend is destined to continue. At the same time, local places matter and one of the reasons why so many of us love to travel is that we want to see places that are different than our own. I for one don't want that to change.

Joshua Levine's recent (WSJ Magazine) piece on John Pawson, -- the architect who "elevated nothingness to an art" -- is a good read.

It's mostly about the country retreat that he recently completed for himself and his wife in the English countryside, but there's also lots about his minimalist architecture, his career, his work with hotelier/developer Ian Schrager, and his passion for photography.

I like this bit about architectural simplicity. The great irony of minimalism, and the reason why brands such as Calvin Klein and Jil Sander began working with John Pawson to leverage his aesthetic, is that it's often more difficult to do less. Getting the details right costs money. Hence this great line from the New Yorker:

As the New Yorker cartoon put it, “Only the rich can afford this much nothing.” Don’t expect a rebuttal from Pawson. “It is big, and it is expensive, you know. It’s sophisticated architectural simplicity. This isn’t a religious thing, and it isn’t as simple as you can go. You can go a lot simpler than this.”

I also like what the following says about labels and what it means to be defined as something:

Slowing down for Pawson isn’t all that slow. He takes photos constantly and has always used the camera as his third eye. In 2017, Phaidon published Spectrum, a book of his photos, many of them first posted on his Instagram (“I said, ‘Well, I’m not a photographer,’ and they said, ‘You are a photographer,’ so now I’m a photographer”).

Click here for the rest of the article from WSJ Magazine. And if you aren't familiar with John Pawson, here is his minimal website.

Photo: Max Gleeson (Armonia Apartments designed by John Pawson)

A few weeks ago Surface Magazine interviewed Ian Schrager. If you don’t know who Ian Schrager is, you should look him up. He started Studio 54 in New York (along with Steve Rubell) and is largely credited with inventing the boutique hotel genre. His latest project is Edition Hotels, which launched in London in 2013 and in Miami in 2014.

What I found particularly interesting about the interview are the “serious snafus” that Edition experienced at the outset. There was a project in Waikiki and a project in Istanbul. Both failed. Here’s a guy who invented the genre and had partnered up with Marriott to pioneer a new brand. And it wasn’t until Edition London that they were able hit their stride.

I say all of this not to poke fun at their failures. Nobody should do that. Poke fun at not trying instead. My point is the exact opposite. To create something new and amazing, such as Edition, you often have to subject yourself to a few scrapes and bruises along the way.