Articles by Andreas Luco

Wave Imaginary — Whether in literature or science, waves are both ubiquitous and mysterious. In the everyday environment of Earth, only a few visible continuous media generate observable waves, such as water waves, while experiences at the human scale are even rarer, with surfers being among the few who can enter the interior of ocean waves. As a man-made structure, architecture is formed through static systems that create fixed spaces to meet human needs for activities and rest within flat surfaces. Consequently, it is challenging to draw direct comparisons with dynamic systems like waves. Only fixed locations such as skateboarding pools provide an experience of dynamic undulation. In recent works by Scenic Architecture Office, the focus has consistently been on three directions: “courtyard settlement,” “extension of homes,” and “free cell.” Among these, “free cell” explore new architectural forms through the integration of technology and spatial experience. The continuous undulation of mountains and waters, the traditional clustering of architectural rooftops, the reproduction of cells, and the transmission of information all share a morphological connection to waves. We have been continuously thinking whether the morphology of waves could offer further insights for the future of architecture. The “Wave Cube” project by Jin Hai Lake has provided us with a rare opportunity for exploration.

The Lefferts Manor section of the Prospect Lefferts Gardens Historic District in Brooklyn is a remarkably well-preserved series of historic houses from the late 19th to early 20th-century: stately and large enough for families, the interiors can pose challenges to contemporary living, with outdated building systems, a lack of storage, and dark, divided spaces. New owners of a corner house—a couple with backgrounds in marketing and journalism, raising two children—came to ABA for something “clean, bright, natural, highly purposeful/functional, and kid-friendly.” While the exterior of the building is protected by landmark status, ABA approached the interiors not as restoration, but as reinvention. Looking to retain character while minimizing complexity, ABA suggested unifying spaces and bringing calm and simplicity by using as few ingredients as possible, consistently throughout. In doing so, the design process simultaneously references the house’s historic form, borrows from early modernists like Adolph Loos in material usage, and unapologetically eliminates detail.

Every architectural project is shaped by a unique story. At Estúdio HAA! we believe that spaces should reflect the personal rhythm and intentions of those who inhabit them and Refúgio Mirzé is a direct response to that principle.

The First Act of Organization: Tracing the Trajectory of Life — The existing three-story building sits on terraced terrain, accessible from both north and south. Years of habit had formed a vertical functional zoning: the second floor, connecting to the vehicular road in the southern community, served as the main entrance, housing the living room, garage, guest room, balcony, and atrium; the first floor, backing against the hillside retaining wall and facing the rear garden, connected to the pedestrian secondary entrance and consisted of the dining room, kitchen, and entertainment room; the third floor was the most private sleeping area, containing two bedrooms and a study. After continuous discussion and comparison of schemes, this zoning was retained in the renovation. The thinking focused on how to release the spatial potential of the house to become a catalyst for the evolution of future life.

The new structure enters the existing building on its own terms. A row of thin metal poles carries an I-beam stretching from front to back. When needed, beams are interrupted. These cuts are exposed and celebrated. The new elements are painted in bright red and blue. They occupy positions within the space that are deliberately disruptive, blocking doors, windows and passages. Because of that inconvenience the structure becomes visible. It is an active participant of the space.