For his first-ever project in California, David Adjaye has transformed a sleepy yet well-positioned Beverly Hills storefront into a dazzling fashion flagship and adjoining public space. Set to open on February 7, The Webster's latest outpost is cast in pink-hued concrete that flows within a matrix of curved walls and massed display plinths. These columnar, tear-drop-shaped, and even rectilinear podiums help anchor and break up this homogenous interior. While a few of these platforms slope out of convex voids, others appear to float over the store’s black cherry and marble fragment floor. Visible on closer inception, a variety of textures and finishes help distinguish different architectural elements throughout the space. Recessed lighting delineates the project’s complex geometry while bronze-framed mirrors and display racks line its perimeter. However consistent with the store’s monochromatic palette, unexpected floral wallpaper designs, sourced from the 1950s, cover the upper half of fitting room walls. Read the full article on our interiors and design website, aninteriormag.com.
Posts tagged with "Adjaye Associates":
David Adjaye and contemporary Aboriginal artist Daniel Boyd have unveiled their design for a new public plaza in Sydney’s Central Business District. Adjaye Associates’ first project in Sydney, the new building and plaza will be located at 180 George Street, the site of Lendlease’s Circular Quay Tower designed by Foster + Partners. Following a competitive expression of interest process, the City of Sydney announced Adjaye and Boyd will design the public square, a community building, and a public work of art, all three of which will be built by Lendlease and then handed over to the city as a public asset. “Rooted in lost history, the new Sydney Plaza is about the meaning of place, heritage, and identity,” stated a recent press release. “An attempt to uncover, layer, and celebrate the Eora origins of this part of coastal Sydney, the project is about reconciliation of cultures...and aims to articulate dialogue around the complex relationship colonizers have to their indigenous communities.” Referencing the dwellings of Australia’s early European settlers, the new public building will take the form of a pitched roof house with fluted exterior cladding, a symbol of shelter and respite in the context of the city’s busy streetscape. It is expected to be used as a flexible, multipurpose space with room for an open plan cafe, meeting spaces, gallery, and garden terrace. Adjaye stated that he hoped the space would become a “place for people to connect, recharge, reflect and take a pause from the rhythm of a fast-transforming city,” according to The Sydney Morning Herald. Boyd’s monumental perforated steel sculpture will jut out above the building and adjacent plaza, filtering light onto the public space below through multiple-sized apertures inspired by Aboriginal dot paintings. 65 feet tall with only minimal support, Boyd’s structure visually appears as a ceiling to an outdoor living room. Sydney’s Director of City Planning, Graham Jahn stated, according to ArchitectureAU, that “This is an incredibly powerful work because it’s so unusual. It’s a public square but it’s also a room within the city. It has wonderful ambiguity and the potential for an incredible presence in the evening.” The project is anticipated to be completed by 2022.
Clocking in at just under 900,000 square feet, the Beverly Center was by far the largest mall in Los Angeles, and one of the largest in the world, when it was first completed in 1982. The mall, which almost exclusively carries luxury retailers, received a $500 million makeover last year by Studio Fuksas that updated the visitor experience by bringing more natural light into its interior, adding a pedestrian path along the perimeter, and breaking up the hulking facade with metal grating. The makeover inspired several new retailers to rent space within the new and improved Beverly Center, including Miami-based, multi-brand fashion house The Webster. On November 20, The Webster announced that it had tapped international architecture firm Adjaye Associates to design a multilevel store on the ground floor of the mall, in a space formerly occupied by a Hard Rock Cafe. With street access on the corner of Beverly and San Vicente Boulevards, The Webster will have an independent entrance and valet-parking service separate from the rest of the complex. The project represents Adjaye Associates’ first project in California, though the firm has completed several significant projects across the country in recent years, including Ruby City in San Antonio, Texas, a “high-design” switching station in Newark, New Jersey, and the iconic Smithsonian National Museum of African American History and Culture in Washington, D.C. There are currently no available renderings of what to expect, but it is likely that the design will demonstrate the firm’s trademark attention to detail and elegant material selection. “It is such an honor to work with David,” said The Webster founder and creative director Laure Hériard Dubreuil. “To have him bring The Webster L.A. to life is an absolute dream! Each one of our locations has its own identity, from the design of the store down to the creatively curated selection of products that furnish the rails and shelves. David truly captured the essence of The Webster DNA and projected it into the future with this new beautiful iteration of The Webster.” The company was founded in 2009 and has since opened six physical locations across North America. When the Beverly Center locations open in January 2020, it will be among the largest at 11,000 square feet.
David Adjaye is teaming up with the U.S.’s first community development corporation (CDC) to revitalize its home of 50 years. Restoration Plaza, headquarters of the Bedford Stuyvesant Restoration Corporation in Brooklyn, New York, will get a total revamp through a five-year strategic plan that will include input from local residents. Located on Fulton Street, the campus has long been a community anchor in Bedford-Stuyvesant, or Bed-Stuy, as the neighborhood is known. The complex currently houses office space, a restaurant, commercial tenants, the Brooklyn Business Center, and the recently-renovated, historic Billie Holiday Theatre. Adjaye Associates will work with Restoration and local residents to redefine the 300,000-square-foot commercial plaza and add 400,000 square feet of office space to the site. For the influential nonprofit, the massive undertaking will further its mission of disrupting and closing the racial wealth gap in Central Brooklyn—something that’s becoming an even bigger focal point as the area gentrifies and longtime residents feel the pressure of higher rents. Through the plan, Restoration will create new centers—one for personal financial health, one for community asset building, one for social entrepreneurship and enterprise, as well as new accommodations for its existing RestorationART program. These initiatives will help bridge existing inequities by providing locals the assistance they need to continue investing in Bed-Stuy’s future amidst its rapid growth. Since it was established in 1967, Restoration has played a key role in the neighborhood’s development. A predominantly low-income area, it served as a testing ground for the Special Impact Program, an amendment to the Economic Opportunity Act of 1964 that was started by Senator Jacob K. Javits, Mayor John W. Lindsay, and Senator Robert F. Kennedy. The plan saw business leaders from around the country, including those from the Rockefeller Brothers Foundation and the Ford Foundation, invest in the build-out of what would become the Bedford Stuyvesant Restoration Corporation. The plaza, which envelops all of Restoration’s offices and the businesses its attracted over the years, was renovated in the early 2000s, and has been repeatedly updated since then. This new overhaul and expansion by Adjaye Associates will bring a modern feel to the site in hopes of boosting job growth across various industries in the area, including tech, fashion, and hospitality—sectors that are largely burgeoning along the Brooklyn waterfront. Though no specific details for the site’s renovation have been released yet, the nonprofit said it aims to build new spaces that better attract these innovative businesses. For Adjaye, he’s ready for the chance to physically build upon Restoration’s rich legacy and announce its influence through new architecture that the locals deserve. “Our team is embarking on a notable mission to re-imagine Restoration Plaza and showcase its impact on the Bed-Stuy community and the country,” said Adjaye in a statement. “As the nation’s first CDC, Restoration has a long history of setting a high standard for the advancement of African American and Caribbean residents who built Central Brooklyn and poured their soul into the community. It’s our honor to be a part of this powerful five-year plan to remake this iconic community epicenter and tackle the large challenge of sustained wealth through the closure of a heartbreaking wealth gap in this city.”
Alison and Peter Smithson, James Stirling, Eduardo Paolozzi, and then some: The Whitechapel Gallery's This is Tomorrow show had an all-star cast when it was unveiled in 1956, not that the audience was necessarily acquainted with these fresh-faced artists and architects (yet). Bold, radical, and surefooted—as the name suggested—This is Tomorrow turned heads as visitors flocked to the then-genuinely edgy East End of London to see the show that was welcoming a new artistic movement, Pop Art, to Britain. Is This Tomorrow? a show now at the same Whitechapel Gallery in the same, now banker-friendly part of London, recalls the exhibition of 63 years ago. Instead of being laced with new ideas fuelled by the optimism of a country finally free from food rationing, Is This Tomorrow? takes a more pessimistic view of what the future may be. Ten teams, of mostly architects and artists, have been assembled by curator Lydia Yee. From the start, audiences are confronted by metal sheep pens courtesy of British studio 6a and Argentinian artist Amalia Pica. This is clearly farm equipment and having to move through the narrow contraption in single file as a human is hardly fun, but dark humor punctuates the work; objects like buoys for seals to play with raise questions about how we treat animals. Maybe too, this is how it feels for some in migrant detention camps. An engaging and provoking start is followed by less moving exhibits on the gallery's ground floor. Adjaye Associates and Canadian artist Kapwani Kiwanga's Sankofa Pavilion is meant to be a place for intimate conversations, but the star-shaped installation, which uses dichroic glass to partially reflect light, is more fun for taking pictures in. Thugz Mansion by London firm APPARATA with Glaswegian artist Hardeep Pandha also falls short. The premise of addressing "what happens to architecture when political systems collapse or become outmoded?" sounds deliciously anarchic but the reality is is that Thugz Mansion lacks any real potency. The final installation on the large, open ground floor is a welcome return to the dismal yet engaging promise of 6a and Pica's work. Spirits Roaming the Earth from architect Andrés Jaque and artist Jacolby Satterwhite, both based New York, posits "highendcracy," while bringing up air-rights dilemmas, designer babies, pollution, fracking, gay porn, queer space, and the placement of 432 Park Avenue renderings in Russian luxury hotels. It's rich in content and remarkably coherent, even with so much packed in. If you can't sit through the eight video episodes which explain how the world is fucked by the aforementioned subject matters, a leafy pulsating tower that rises above fumes and a jungle featuring rooms hosting sex parties and topped by two men kissing distills everything nicely. Above, the second floor is a similarly mixed bag of installations. An interim space glosses over the 1956 exhibition with newsreel footage from the British Pathé archive and an assortment of relevant books. Beyond that, the Mexican match-up of artist Mariana Castillo Deball and Tatiana Bilbao results in what appears to be a melted Mecano set; it's meant to symbolize communal connections and the Mesoamerican calendar. Is This Tomorrow? has been promoted alongside a photo of Bait Ur Rouf Mosque in Bangladesh by Marina Tabassum Architects. The firm, with fellow Bangladeshi, artist Rana Begum, has exhibited Phoenix Will Rise—simply an oculus with a crinkled, colored lining, in an inverted trapezoid structure. A weak reference to what is a wonderful building. Thankfully, two much stronger works follow. Duck down and enter The Salvator Mundi Experience from British duo David Kohn Architects and artist Simon Fujiwara. The work accommodates only one person at a time and offers a 360-degree panorama of 1:24 scale scenes depicting experiences of Leonardo da Vinci's Salvator Mundi—the painting that broke records when fetching $450 million in New York two years ago. Kohn and Fujiwara's work investigates the commodification and marketability of art and art experiences, focusing on the public relations campaign from marketing agency Droga5, and depicts an auction room, the Dubai Louvre where da Vinci's piece was set to be exhibited, a creepy "interactive chapel," fake replica artwork donation center, a restoration room, and more. All scenes feature CCTV cameras, but of course, the viewer is the real Big Brother. After these miniature metaphors, Borders/Inclusivity from Iranian-born architect Farshid Moussavi and French artist Zineb Sedira ensnares audiences at human scale (the installation isn't for those with claustrophobia). Borders/Inclusivity is a procession of turnstiles that turn different ways and force visitors to awkwardly negotiate the course. Meanwhile, motion sensors set off sirens and sounds of border patrol over the radio. The installation is simple but fits nicely with 6a and Pica's treatment of humans as animals and it'd be a fitting end to the exhibition. However, Brits Rachel Armstrong and Cécile Evans signal the end of Is This Tomorrow? with a piece that somehow dovetails microbial cells and a fog curtain with a fluttering bird projection, all within 140 square feet—London's smallest living space. And that's it. Maybe the Whitechapel Gallery is showing its age—once young and full of hope, now it's moaning about how bad everything is and how much worse it will get, and not doing it too eloquently either. The original, the emphatic, This Is Tomorrow endures more than half-a-century on; the pessimistic, Is This Tomorrow? might not last so long. Despite offering genuine moments of intrigue and asking tough questions, one leaves wishing it was 1956 again.
A new exhibition at the Design Museum in London highlights David Adjaye’s evolving expertise in memorial design. Making Memory is on view through May 5 and showcases seven of his firm’s completed and ongoing commemorative projects. Presented in models, photographs, material samples, sculptures, and full-scale recreations of Adjaye Associates’ monumental works, the memorial projects detailed in the show cover over a decade of architectural practice. Three of the structures on view have already been built, while four are unbuilt. One installation is dedicated to the Smithsonian National Museum of African American History and Culture in Washington, D.C., and includes the West African Yoruba sculpture that inspired the building’s design. Another installation features a reconstruction of the Sclera Pavilion that Adjaye made for the 2008 London Design Festival, which he created in collaboration with the American Hardwood Export Council. Adjaye’s Gwangju River Reading Room, completed in 2013 and also featured in the exhibition, details his work with writer Taiye Selasi to create a pavilion in Gwangju, South Korea, dedicated to a pro-democracy uprising in May 1980 when several students were killed at the nearby Chonnam National University. A replica of the pavilion will be set up within the Design Museum complete with texts curated by Selasi. All of these built works, according to Adjaye, provide “an experience of time and place that is available to everyone.” The architect said in a statement that the 21st-century monument is no longer a singular representation of an event, but something that “is really used as a device to talk about the many things facing people across the planet” no matter the nation, race, or community the piece symbolizes. In his work, Adjaye seeks to create dynamic and complex spaces for people to interact with the triumphs and failures of history. Also detailed in the exhibit are Adjaye Associates' designs of the National Cathedral of Ghana in Accra, which was unveiled last March, and the Mass Extinction Memorial Observatory (MEMO), a spiraling stone structure currently under construction on the Isle of Portland in England. The show also features Adjaye’s recent competition entry for a new memorial in Boston honoring the legacy of Martin Luther King, Jr., and Coretta Scott King. It’s unclear whether Adjaye’s design has been chosen by the nonprofit in charge of the competition, King Boston, but an announcement is expected soon. The project is moving forward fairly quickly, having received major donations last month from the Boston Foundation and Boston University. One of Adjaye’s most well-known upcoming projects, the UK Holocaust Memorial and Learning Center in London, is discussed in the special exhibition in tandem with the current controversy surrounding its design and location in Victoria Tower Gardens. The design, a collaboration with Ron Arad Architects, was chosen in late 2017 as the winner of an international competition to memorialize the six million Jews murdered in the Holocaust. The project is facing new opposition from the site’s management group, Royal Parks, a London charity that says it doesn’t support the planning application and deems the Gardens “highly sensitive” to any physical alterations. The Guardian reported that Royal Parks supports the “principle of the project” but the size and design would have “harmful impacts” on the area—the Gardens fall within the boundaries of a UNESCO World Heritage Site that includes Westminster Abbey and the Houses of Parliament.
Last week, massive, hand-cast concrete arches—reminiscent of historic New York building materials from the 19th and 20th centuries—started getting installed on the facade of Adjaye Associates' 130 William residential tower in Lower Manhattan. The tower has made huge progress over the past six months, transforming from a steel skeleton into a concrete superstructure 27-floors high, which is still less than half the size of its projected 66-story peak. Once finished, the building will considerably transform New York City’s iconic skyline, while introducing 244 new luxury condominiums to the Financial District. The skyscraper is significant not only for its immense height, eclectic building materials, and interesting color palette, but also for its visual simplicity, clarity, and unique profile. Distinguished by its stark inverted-pyramidal design, the facade of the building symbolizes an era of social change, technological development, and evolution from the repetitive style of modern architecture in the city. The minimalistic, concrete pillar, evocative of New York City's industrial history, drastically differs from Manhattan’s glass-box skyscrapers. Although this urban monument lacks vibrant imagery and ornamentation, its sheer height and rational twists in concrete, glass, and bronze give it an animated appearance, while still embodying a modern “less is more" ideal. Adjaye Associates describes its architectural practice as, “renowned for an eclectic material and colour palette and a capacity to offer a rich civic experience, the buildings differ in form and style, yet are unified by their ability to generate new typologies and to reference a wide cultural discourse.” According to a representative, the building’s real estate is selling well.
Critics of the upcoming UK Holocaust Memorial and Learning Centre have cried out to the government over its prominent location in London's Victoria Tower Gardens next to the Houses of Parliament. The Jewish Chronicle reported that a cross-party group of Jewish leadership worries the $58 million project “conveys an impression of national guilt” and that it’s too close to the Imperial War Museum, which has held a long-standing permanent exhibition on the Holocaust. Despite these complaints, Sir David Adjaye, the British architect behind the memorial, is fiercely defending his vision, and several advocates, including three major Shoah charities, are backing him. Adjaye told ES Magazine this week that the poignant memorial needs to sit next to Parliament because “Holocaust-deniers have festered” in the country in recent years. Most notably, Britain's Labour Party leadership has been accused of allegedly stirring up anti-Semitism in national politics. “History has taught us that we need a mechanism to remind us of what we did and why we did it,” Adjaye told ES. Some say the project needs to be downsized or that it isn’t necessary altogether because of Britain’s involvement in liberating the oppressed from concentration camps during World War II. Critics also think some of the money for the memorial should be allocated to enhancing the efforts of the nearby Imperial War Museum, which has also repeatedly called for a rethink of the project's design and location as it gets set to unveil its newest Holocaust-related digital galleries in 2020. But Adjaye and supporters believe the new memorial is crucial to further honoring the memory of those who died and that the proposed site is “hugely appropriate.” Adjaye Associates won a competition to design the structure last year after submitting a proposal with Israeli designer Ron Arad and landscape firm Gustafson Porter + Bowman. Their vision for a bronze, sculpture-like memorial sporting 23 stark fins beat out teams from Zaha Hadid Architects, MASS Design Group, Anish Kapoor, Studio Gang, Foster + Partners, and more. The competition was put together by the UK Holocaust Memorial Foundation and backed by former British Prime Minister David Cameron.
Prototypes and Experiments, the latest exhibition in a series of shows in its tenth year at the Aram Gallery of London, showcases physical models by internationally-renowned names like Mary Duggan Architects and Adjaye Associates, alongside emerging practices like HASA Architects and vPPR Architects. The show will display models of a range of types, from finely detailed presentation pieces to study models and abstracted constructions that evoke the feeling of a space. The exhibition looks critically into the model’s role in the creative process. The gallery asked each exhibitor to present the design process of one particular project and write a commentary explaining the intentions of each exercise and its relation to the final product. London-based design and architecture studio PUP is one of the exhibitors, displaying models from their H-VAC project, which won the inaugural Antepavilion competition in 2017. H-VAC features a snaking linear form that serves as both rooftop ducting and air handling plant. On view at Prototypes and Experiments is a stick model that explores the structure of the sculptural form, as well as a facade study model that illustrates the reversible Tetra-Pak shingles clad on the exterior. Interdisciplinary practice HASA Architects will also participate with their Lone Lane project, which is what they're calling a "contemporary replacement building” for a demolished warehouse. The attention to brickwork is shown in the facade model on view. In a massing model the brickwork is abstracted but the openings and apertures are well detailed. In a stair model the cast stairs are painted in gold to highlight the circulation. The Aram Gallery is an independent gallery directed by Zeev Aram focused on contemporary design. The exhibition is curated by Riya Patel. Architecture Prototypes & Experiments 2 August - 1 September 2018 The Aram Gallery 110 Drury Lane, Covent Garden, London, WC2B 5SG +44 (0207 557 7526)
Ahead of the sales launch for the Adjaye Associates-designed 130 William condo tower in lower Manhattan, Sir David Adjaye sat down with the New York Times to discuss the building’s design philosophy and to drop new renderings of the arch-wrapped tower. Construction on the tower, with its gothic-flair and inverted take (and massing) on the arches seen in classic New York masonry, is already well above grade. Unlike many of its glass-clad contemporaries, dark, angled concrete panels as being used for the building’s facade, which Adjaye described to the Times as acting to break up rainwater running down the face of the building. A new detail revealed in the interview is the deeply gauged and pocked texture of the concrete, reminiscent of fresh volcanic rock. The arches-all-over motif is repeated in the lobby according to the new renderings, with arched book nooks notched from concrete and arching transoms over the main entrance doors. Like the building’s facade and the black tiling in the pool room, Adjaye and Hill West Architects have gone with a heavy dark material palette for the lobby. This is in stark contrast to the all-white residential unit interiors and they’re brass-burnished finishes. Adjaye Associates and Weintraub Diaz Landscape Architecture will also be designing a planted plaza at ground level inspired by the city’s historic pocket parks, though from the construction photos the building appears to be tightly slotted into the site. Potential residents can purchase units starting from $650,000 for a studio all the way up to a $5.42 million 4-bedroom condo, with an expected move-in date of 2020.
On May 11, Arts South Australia’s design jury revealed the design proposals from the six shortlisted teams selected in the Adelaide Contemporary International Design Competition, a planned art gallery and sculpture park in Adelaide, Australia. The 160,000 square-foot Adelaide Contemporary will house a significant portion of the Art Gallery of South Australia’s 42,000 piece collection, which currently only has a fraction on display due to a lack of space. The museum will draw upon its substantial Aboriginal collection to create the Gallery of Time, which will combine indigenous pieces with European and Asian works. This shortlist's designs follow. Adjaye Associates & BVN’s design draws upon Aboriginal vernacular architecture through the use of a surrounding canopy, providing shade in one of the more arid corners of the country. With the canopy screening significant portions of the four elevations, the design will largely use skylights and balconies to filter natural light into the central atrium and stairwell. With a twisting, serpentine layout, Bjarke Ingels Group (BIG) & JPE’s proposal is inspired by Aboriginal sand painting, which often embeds abstract natural elements within a landscape. Through the use of rooftop landscaping, the team hopes to integrate their design with the adjacent Botanic Garden. David Chipperfield and SJB Architects’ is the only timber structure proposal. The principal elevations are composed of wooden screens, and the structure is topped by sloped roofs. In a statement, Diller Scofidio+Renfro & Woods Bagot describe their proposal as a “matrix of unique spaces unbound by disciplinary categories range in size, height, infrastructure, and light quality.” The bulk of exhibition space is located on the second story, which is cantilevered over an outdoor gallery and public square. Hassell & SO-IL incorporate a central plaza into their design proposal, which the team describes as an attempt to bring “nature, art, and people together.” The central plaza serves as a circulation node and public square connecting the gallery’s semi-independent spaces, which are further laced together by a draped, metal brise-soleil. Khai Liew, Ryue Nishizawa & Durbach Block Jaggers proposal consists of a sweeping, perforated canopy supported by a series of pilotis. Beneath the canopy, the site is split roughly evenly between park and curatorial space, the latter presenting sweeping views of the adjacent Botanic Garden. Arts South Australia’s design jury will meet again in May, with a winner expected to be announced in June.
Catalog homes could soon be seeing a resurgence, as London-based startup Cube Haus has enlisted several big-name English architects to design modular, off-the-shelf homes for design lovers on a budget. Adjaye Associates, Skene Catling de la Pena, Carl Turner Architects, and furniture designer Faye Toogood have all signed on to design high-density housing that will infill “awkward” sites throughout London. London homeowners have the option to subdivide their property and build on the unused portions, resulting in awkwardly shaped plots. Cube Haus claims that its modular designs can be scaled to fit these unorthodox lots and infill areas naturally and that their homes will cost 10 to 15 percent less than a conventional model because of their off-site manufacturing. Each home will be framed from solid sheets of cross-laminated timber and moved into place at the construction site, then clad in sustainable materials. Cube Haus is also offering up its designs for consumers building in more traditional lots as well. Adjaye Associates is no stranger to residential housing in London, and their rectangular Cube Haus design closely resembles Adjaye’s 2007 Sunken House in Hackney. Excavated gardens in the home’s yard plays a central role in this scheme, as do tall windows and ample natural light. Everything else about the timber-clad home’s layout is up to the landowner, and all of the rooms have been designed for a plug-and-play approach. Carl Turner has brought two schemes to the table. The first is a two-story house with a flat courtyard area on the roof, which splits the upper level into two pitched volumes. Cube Haus notes that the pitch of the roof can be adjusted, rotated, or flattened out according to the client’s whims. The second model is single-story slab pierced with a square courtyard, with the home’s programming arranged around this space. Consumers have the choice of cladding their homes in opaque glass, zinc, charred timber, or dark brick. Skene Catling de la Peña engineered their scheme as a “building within a building,” designing a masonry-clad central column that serves as a fireplace, staircase, hot water heater, and storage space around which the rest of the rooms are organized. Homeowners have several options for how they can clad the shaft, from tile to marble–or it can be left undecorated, exposing the precast concrete structure below. The homes themselves will be malleable to the irregular sites, linked through their spacious rooms and ubiquitous views of the main column. Faye Toogood has offered up a simple scheme in two material palettes; one light and one dark. A central garden placed between two pitched peaks breaks up the rectilinear massing of the house, creating a form suitable for both the urban environment as well as the countryside. Cube Haus is the child of entrepreneurs Philip Bueno de Mesquita (himself an owner of an Adjaye-designed home in London) and Paul Tully. The company is already building, with two sites in Forest Gate, London under construction and others in pre-planning throughout the city. Cube Haus hopes that its three-bedroom homes will sell for anywhere from $880,000 to approximately $1 million.