A couple of years ago, really well-prepared Wright properties sold very quickly. There were historically low interest rates and a lot of liquidity, even in the luxury market. Now the tides are shifting, and a post-pandemic frenzy for Wright designs has softened.
Wright created a sculptural masterpiece, but he was pushing the boundaries of residential construction. He didn't put enough reinforcing steel in the cantilevers of the house over the waterfall, so as soon as they removed the formwork, the house started to sag. Wright was always assuring the Kaufmanns it was natural, but it was the house failing.
The style is characterized by raw, exposed concrete and bold geometric forms. You've certainly seen it before in many cultural and civic buildings built between the 1950s and '70s. With countless examples spanning countries and continents, the look has both historical significance and remains popular-particularly in residential design-today.
"It has been estimated that one million five hundred thousand houses each year for a period of 10 years will be needed to relieve the urgent housing problem of this country. The enormity of such a need cannot even be partially satisfied by building techniques as we have known and used them in the past."
Like the chambered nautilus, its shell was a logarithmic spiral. A wall of rough sandstone and aquamarine glass cullet twisted up fifty feet to an oil-drill-stem mast from which a floating roof was hung by the stainless-steel struts of World War II biplanes. You slid in with the humid air from the ravine outside to stroll a terraced garden of pools and plants, over which suspended and carpeted pods for living and sleeping drifted like clouds.
Gropius, who from 1919 to 1928 directed the Bauhaus in Weimar and Dessau, designed the house in 1921-22 for lawyer Fritz Otte. The property is considered a dramatic evolution of Gropius's earlier seminal Haus Sommerfeld, which was also located in Berlin, but destroyed in World War II. The Bauhaus founder embraced a forward-looking approach with an unadorned, sharp-edged structure that rejected the heaviness of 19th-century historicism.
Designed by Tanay Vora, Vidushi Gupta, Hardik Sharma, and Yaman Gupta, this isn't your grandmother's chess set. Though actually, it kind of is, if your grandmother happened to appreciate mid-century Indian modernism and spiritual philosophy. The name "Mohmaya" translates to "illusion," which feels perfect for a game that's all about deception, strategy, and seeing through your opponent's tricks. Designers: Tanay Vora, Vidushi Gupta, Hardik Sharma, Yaman Gupta
The Garden House is a light-filled, mass-timber hub for The Packer Collegiate Institute's Lower School, designed for the joy of its students and the ease of those who teach and care for them.
The penthouse residence by Metaphors is defined by a balance of extremes, where bold neo-classical elements are combined with the raw mass of brutalism. The architectural program rejects a singular aesthetic, instead opting for a material collision that pairs deep-veined, sculpted marbles with intricately detailed ceilings and embossed wall panels. This allows the residence to function as a versatile home, shifting between an expansive stage for high-society hosting and a series of intimate, quiet sanctuaries for family life.
Designed by noted residential architect Roland E. Coate, the home was built in 1926 for Annie Wilson, daughter of pioneering Southern California businessman and politician Benjamin Wilson, for whom Mt. Wilson is named. The gently sloping 1-acre-plus property was once part of the vast holdings of George S. Patton, father of the famed U.S. general.
The works of this baroque brutalist, who was active until his death in 1997, have been steadily demolished over the past few decades - his Riverview High School in Sarasota in 2009, the Shoreline Apartments in Buffalo in 2020, his Burroughs-Wellcome Building in North Carolina the following year. Multiple Rudolph houses have been lost in the same period. Others remain at risk; the fate of his still-polarizing Boston Government Service Center is exceptionally unclear. Nature has been cruel as well, washing away his Sanderling Beach Cabanas in Sarasota in a 2024 hurricane.
"In the past few months, the real-estate developer turned politician has torn down the East Wing of the White House in order to build a flashy $400m ballroom, added his name to the façade of the John F. Kennedy Center for the Performing Arts (which he announced would for major renovations starting this summer), suggested painting the exterior of the Eisenhower Executive Office Building (EEOB) all white to "beautify" it, and pushed plans to build near the capital's historic centre."
Postmodernism began as a critique of modernism's exhausted promises. By the late 1960s and early 1970s, many designers no longer treated modernism as radical or socially redemptive. Urban renewal projects accelerated the demolition of historic neighborhoods, and landmark preservation battles raised urgent questions about what the United States valued and, ultimately, protected. The loss of major civic icons, including New York's Penn Station, sharpened public awareness that progress often arrives through erasure.
No matter the style or scale, however, his sixth sense for the provision of creature comforts is evident throughout his work. "He just knew how to design a house for cultured living," notes Escher. It's telling that Williams opted for modernism in his own residence, yet the functionalist disposition of the rooms is balanced with richly personal details. "On one hand, it's still sort of a traditional layout in how the kitchen and back-of-house facilities are organized," says GuneWardena.