New York architecture studio Arquitectonica has designed a residential skyscraper with undulating fins on its facade and a landscaped terrace garden in Honolulu, Hawaii.

Called The Launiu, the 40-storey skyscraper is located in the Ward Village development in Hawaii's capital Honolulu on the island of Oahu.

According to Arquitectonica, the design for the structure was informed by natural formations and the movement of wind, water and sand in Oahu, the third largest in the chain of islands that makes up the state of Hawaii.

"The natural beauty of O'ahu served as our primary design inspiration for The Launiu," said Arquitectonica founding principal Bernardo Fort-Brescia.

"With the neutral-toned facade and soft rippling exterior created by balconies, we sought to pay homage to the surrounding environment through an interpretative, elemental design that conveys movement, emulating the effects of water, wind or markings in the sand."

"The resulting concept is organic yet contemporary."

Sited near the shoreline of the Pacific Ocean, the structure will consist of a glass-curtain-wall-lined tower set on top of a rectangular podium.

Its podium will also be covered in a glass curtain wall, with white paint-aluminium panels framing each of its sides. The first storey will cantilever out over the ground floor, creating a canopy around the building that will be supported by concrete columns.

The entrance will be marked by a series of sand-coloured aluminium panels undulating in waves up the face of the podium,

The tower of The Launiu will be set back significantly from the edges of the podium. This is to create a large terrace that will be covered in palm trees and amenities for the residents of the 486 condominiums, 90 of which will be in the podium.

The remaining residences will be spread throughout the tower. Its facades will also be covered in white-painted aluminium panels cut to form a wave-like texture up the face of the building.

California studio Odada will bring a minimalist interior design schema to the project, adorning the white-washed spaces with woven furniture and textiles.

Landscape studio Vita, also based in California, will carry out the design of the green terrace and surrounding grounds, weaving paths and lounge areas among the pines and pools of the development.

Ward Village is a planned community developed by Howard Hughes and contains several residential and commercial structures. The development is meant to represent "the next generation of sustainable development and land-use planning on O'ahu," according to the company.

Arquitectonica was founded in 1977 and has carried out several high-profile architecture projects, especially in Miami, where it created the building that houses the University of Miami's architecture school.

Other big-name firms from the mainline have created similar residential projects on the islands, including a 41-storey building by Studio Gang informed by the form of sugarcane.

The renderings are courtesy of Arquitectonica. 

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US studio Olson Kundig Architects has utilised a variety of wooden storm shutters and deep roof overhangs for a Hawaiian holiday home called Hale Napo'o.

Hale Napo'o, which translates to Sunset House, is located on the northern coast of Kauai, an island in the Hawaiian archipelago.

The clients desired a family retreat that opened up to the landscape and ushered in breezes from Hanalei Bay.

"The result is a functional island retreat that caters to the family's casual barefoot lifestyle, while providing a sense of scalability to accommodate both large and intimate gatherings," said Seattle-based Olson Kundig Architects.

The two-storey dwelling consists of rectilinear volumes arranged in a U-shape around a central courtyard.

Topping the home are overhanging roofs lined with corrugated copper.

The roof design is meant to pay homage to a style of hipped roof popularised by local architect CW "Pop" Dickey in the 1920s and 1930s.

The facades consist of glass and horizontal cedar siding.

The home is wrapped in a series of operable wooden screens that are opened and closed in different ways. Some lift up and down, some pivot, and some slide from side to side.

The screens provide storm protection and security. They also allow breezes to flow into the house, negating the need for mechanical air conditioning.

"The home is unconditioned, relying on passive ventilation from the beach winds through a series of operable shutter screens that wrap most of the building facade," the firm said.

The home is entered through a shutter-style gate, which leads to an open-air corridor lined with tall screens that pivot open and closed.

The ground level holds an open-plan kitchen, dining area and living room. Just off the cooking and dining space is a lanai with views of the water and three prominent mountain peaks – Hihimanu, Namolokama and Mamalahoa.

The communal area is wrapped in screens that lift upward. Wooden flooring extends from the living space to the terrace, helping diminish the distinction between inside and out.

Also found on the ground level are a garage, library and guest bedroom suite. The latter two spaces have sliding screens that enable them to be open to the courtyard.

The upper level encompasses the main bedroom suite, a bunk room and a den. A cantilevering terrace shades the ground-level lanai.

The interior design was overseen by California-based Shawback Design.

Overall, Hale Napo'o provides a relaxed atmosphere and "blurs the lines between indoor and outdoor living", the team said.

Other Hawaiian homes by Olson Kundig include Hale Lana, a residence composed of five pavilions that are lifted slightly above the ground. The building features glass walls, open walkways and corrugated metal roofing.

The photography is by Aaron Leitz. 

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Honolulu design studio The Vanguard Theory has created interiors for a hotel on Waikiki Beach that "embrace the brutalist architecture" of the building, while adding tropical touches to the decor.

The Wayfinder Waikiki offers 228 guest rooms just a few blocks from the famous surfing beach of the same name in the Hawaiian capital, on the island of Oahu.

Local firm The Vanguard Theory waas behind the transformation of an existing brutalist building into a colour-filled hotel that nods to both indigenous Hawaiian and imported traditions.

"Celebrating the rich diversity and multicultural fabric of Hawaii, touches of Hawaiian, Japanese, Chinese, Portuguese, Filipino, and European details are all blended together, creating Kama'aina style," said the hotel.

A variety of different guest room sizes and types are available, from standard doubles all the way up to premium pool house studios.

The rooms feature custom-designed wooden furniture and works by local artists and are decorated in different colour combinations that each reflect the natural world.

Green and coral hues are indicative of land, shades of blue and turquoise echo the sea, and gold and grey tones were chosen to represent the sky.

Wainscoting adds dimension to the walls, some of which are painted in colour floor-to-ceiling, while others stop midway and continue in white to make the spaces feel bright.

Round patterned headboards were created as a blend of "Japanese obi sashes, Polynesian-influenced tribal prints and plaid palaka fabric reflective of historic Portuguese ranchers" according to the hotel.

The cords of bedside pendant lamps are laced with pikake and pakalana flowers – both native to Hawaii.

A similar design language is found in the lobby, where plants and floral prints sit side by side against concrete surfaces and leather furniture.

Connected to the reception area along a counter with a fluted blue front is B-Side, a coffee shop from which guests can also purchase cocktails, light bites and hotel merchandise.

More formal dining can be enjoyed at Redfish, an all-day poke restaurant where highly tonal wood panels cover large expanses of the walls and ceiling.

Next to the 70-foot (21 metres) saltwater "lagoon" pool is a bar called Lost + Found that serves frozen tropical cocktails, plus a range of other drinks and snacks. There's also an on-site gym.

Wayfinder Waikiki is the second location in owner Dovetail + Co's Wayfinder portfolio, following its outpost in Newport, Rhode Island.

It joins a wide range of accommodation options in Honolulu, a hugely popular tourist destination, including the mid-century influenced Laylow Hotel and the brightly coloured Shoreline Waikiki.

The photography is by Mariko Reed, Read McKendree, Kelly Jean Iverson and Surf Please.

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Chicago-based Studio Gang has completed a residential tower in Hawaii called Kō'ula with an undulating facade that takes cues from local ecology.

Kō'ula, which means "red sugar cane" in native Hawaiian, is a local plant with a twisting structure that became a major influence on the facade of the tower.

Studio Gang took the twisting structure of the plant and applied it to the facade so that the windows of 41-storey tower could have maximized views of the nearby ocean.

"We designed Kō'ula to connect residents with Honolulu's spectacular natural ecology," said Studio Gang founding partner Jeanne Gang.

"The living spaces subtly peel off from the building's core towards the coastline to capture mauka-to-makai views, and each home extends outdoors onto spacious lānai that draw fresh air and natural light inside year-round."

The studio took the form of a Lānai – covered verandas common in Hawaii –  to inform a series of inset terraces that run up the building's facade.

In order to achieve the wave-like effect, Studio Gang used a structural system composed of wallumns, which allow the interior walls to serve as columns. This also opens up the interior space.

The wallumns also provide shade for the terraces and appear as vertical fins as they extrude from the interior.

The tower sits on a podium with an elevated walkway that connects the front with the secondary structure with a parking garage that flanks it.

The elevated walkway is carved out at one point where it has an open "oculus" with a staircase that goes down to ground level.

On top of this secondary structure is the amenity deck and the space on the ground between the tower and the structure was landscaped to provide more outdoor space for residents.

Underneath the elevated structure, the port cochere has a ceiling installation made up of radiating wooden slats.

Inside, an open-air lobby is meant to provide a connection with the outdoors, according to the studio. The landscape architecture was carried out by Coen+Partners.

Studio Gang collaborated with Canadian design studio Yabu Pushelberg for the interiors.

The interiors of the public spaces, including a fitness centre on the eighth level, and the apartments were designed to reflect both the sensibility of the tower as well as the island ecology.

"Guided by the desire to combine the warmth and openness of Hawai'i with its natural surroundings, the studio designed interiors, which seamlessly follow the rhythm of the architecture and communicate their signature 'high-humble', qualitative approach to modern island living," said the team.

Located in the centre of Honolulu, Kō'ula was designed as part of Ward Village, a 60-acre development by the Howard Hughes Corporation.

"We also designed a series of social spaces and strong links to the adjacent park to help residents meet, come together, and feel part of the larger Ward Village community," said Gang.

"I'm excited to see how residents will make these spaces their own."

Studio Gang was founded in Chicago in 1997 and has designed a number of noteworthy buildings including Aqua Tower in its home city as well as Mira Tower in San Francisco.

Recently, Jeanne Gang was awarded the Le Prix Charlotte Perriand prize for her achievements in the field of architecture.

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There are practically no doors in this Hawaii retreat by Craig Steely Architecture that has a triangular inner courtyard, massive skylight and a cantilevered roof.

The house earned its nickname, Musubi, from one of the builders who remarked that its triangular shape resembles the popular Japanese rice snack also known as onigiri.

It is sited amongst 100 acres of grassy, rolling hills, facing North on the slopes of the Mauna Kea volcano in Pa'auilo, on Hawaii's Big Island.

"The owners requested a house that embraces the nature of the windswept grasslands of the Hamakua coast," said San Francisco studio Craig Steely Architecture.

Though the low-slung roof is quadrilateral, the living areas were placed in a rounded triangular floor plan.

"The diagram of the house is simple—an outdoor triangle within an indoor triangle supporting a diamond-shaped roof," said Craig Steely Architecture.

Residents arrive via a garage on the lower level, where a spiral staircase illuminated by a skylight leads to the home's main level.

The overhanging roof is helpful as the area's weather can be unpredictable.

"The elevation creates a weather dynamic that can swiftly switch from brilliant cloudless blue sky to horizontal windblown rain within minutes," the architecture studio explained.

A central courtyard helps delineate the interior spaces, and sliding glass doors create a continuous space that runs through the centre of the entire home.

"The triangle-shaped atrium in the center provides an outdoor room between these zones with a floor of cut Pahoehoe lava," said Craig Steely Architecture.

"This protected space is usable in windblown fog or bright sun—a true extension of the interior space without a roof," the studio added.

The three main areas of the home are located within the rounded triangle's corners, which are made of cast-in-place concrete.

There is a sunken living room, a kitchen and dining area, and two bedrooms.

"These concrete curves designate the three zones of the house," the architects explained.

On the glazed courtyard wall facing the bedrooms, the architects included plenty of plants, which protect the occupant's privacy.

"A landscape of Hapu’u ferns and Rhapis palms create a layer of veiled privacy to the outdoor shower and bedrooms off the atrium," said Craig Steely Architecture.

The exposed concrete structure is visible throughout the interiors and complements warmer accents such as a wooden ceiling and bright furnishings.

"The clients’ willingness to prioritize permeability over privacy gave us the freedom to create a plan without doors or hard boundaries," Craig Steely Architecture explained.

"Spaces flow from zone to zone while always remaining in visual contact with the rolling landscape," the studio added.

Other homes in Hawaii include a villa built atop a crystallised lava flow by De Reus architects and a low-slung home made up of four gabled volumed by Walker Warner Architects.

The photography is by Darren Bradley.

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US studio De Reus Architects has perched this villa on an expanse of solidified lava, offering its residents sweeping views of the leeward side of Hawaii's Big Island.

The Kohala Coast residence is made up of a cluster of small buildings and named after the area in which it's located. It was completed by De Reus Architects, a studio with offices in Hawaii and Idaho.

The buildings are perched atop an expanse of blackened igneous rocks, which are formed when lava solidifies into stone. According to the firm, this particular rock formation dates back to 1801.

By breaking up the 10,000 square-foot (929 square-metre) home's different spaces into smaller buildings, the architects sought to reference the local vernacular architecture. This is reinforced by the house's gabled overhanging roofs.

"The residence was designed as a modern interpretation of indigenous island architecture and a way to connect the occupants to nature, the region, and its culture," De Reus Architects said.

A water feature set within an entry court greets visitors to the home. According to De Reus, the open spaces that transition between the different buildings were as important as the primary rooms of the house.

"The home is organised as a series of interlocking yet separate hale (pavilions), with the resulting spaces between the hale becoming as important to the experience as the hale themselves," the studio said.

Guests enter through a gallery into the home's principal public area, which combines kitchen, living, and dining rooms under high cathedral ceilings that follow the building's roof outline.

Two of the walls in this room can slide open completely, opening onto a large reflecting pool that sits between the interior living room, an exterior lounge space, and the primary bedroom.

The Pacific Ocean lies beyond, creating the impression of a continuous expanse of water stretching out to the horizon. Rather than orienting the home to directly face the ocean, the studio opted to angle it slightly, which gives it "glancing coastal views."

The owner's bedroom is located in a separate building connected via a walkway. It includes a walk-in closet and its own en-suite clad entirely in white marble, which opens to a lush courtyard with an exterior shower.

Three more bedrooms are located closer to the living and dining room. They share amenities such as a separate lounge area, which could be used to host simultaneously in several areas of the home.

Finally, a guest bedroom is located in its own building and is only accessible by crossing the serene entry courtyard. This gives guests more privacy, as the pavilion has its own restroom and outdoor shower.

The interiors were designed by Philpotts Interiors, a firm based in Honolulu. Many of the resident's spaces are left completely open and separated only by slatted wood partitions.

"Sliding architectural wood screens throughout the house create privacy between spaces, but create an atmosphere of refinement and mystery," the studio explained.

The finishes found throughout the house form a muted palette of natural wood and light stone finishes.

"For this house, traditional design elements are tempered through a Japanese sense of restraint and interest in craftsmanship," said De Reus Architects. The studio summarised this approach by naming it "tropical minimalism."

De Reus Architects is led by architect Mark de Reus, and has completed other projects in Hawaii, including a nearby home which uses a similar concept to promote indoor-outdoor living.

The studio also designed Mark de Reus' own home in Idaho, taking cues from local barn and ranch structures.

Photography is by Matthew Millman.

Project credits:
Architect: De Reus Architects
de Reus design team: Mark de Reus (project architect), Eric Anderson (project manager), Christopher Strahle (job captain)
Interior designer: Philpotts Interiors
Landscape: David Y. Tamura Associates, Inc.
Structural engineer: Kahiau Design Group

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Shallow-gabled roofs allow the pavilions of this holiday home by Walker Warner Architects to embrace the gentle volcanic slope of Hawaii's Big Island.

The vacation property is named Hale Mau'u – hale means house in Hawaiian, and mau'u is a type of native grass.

It sits on the western shore of the archipelago's largest island, which has a very different landscape to the tropical rainforests typically associated with Hawaii.

"For anyone who has never visited Hawaii's Big Island, it can be surprising to discover that a vast arid plain occupies a significant portion of its western side, sloping gently down from the Hualalai Mountain to the coastline," said Walker Warner Architects.

The San Francisco-based firm has completed several homes across the Hawaiian archipelago, including a beach house on Kauai and a holiday home in the Big Island's Kona resort.

For this project, the team took cues from the setting to design "a house like no other" – based on the clients' request to eschew resort community architecture.

"This site is unique in its ability to capture the ocean view and mountain view simultaneously. Not all parcels get that," said the firm's co-founder, Greg Warner.

"The arrangement of the 4,817-square-foot (447-square-metre) compound had to do three things: catch the mountain view, catch the ocean view, and then block the view of the neighbouring houses."

On the 2.9-acre site, the home is spread across four volumes. These have various sizes and orientations but are united in their architectural style.

The most distinct feature is the shallow-pitched, copper standing seam roofs, which extend well beyond each building's walls to shelter ipe-wood perimeter walkways from the sun.

The roofing seams are randomly spaced to evoke the texture of a coconut palm trunk.

A long driveway culminates in front of the first and smallest pavilion, which connects directly to the second and largest containing the shared living room, kitchen, and family room.

Through the centre of the compound, a raised walkway forms an axis from the mountain to the ocean.

It runs from the entrance through a courtyard created by three of the volumes, ending at the outdoor swimming pool.

A series of bedrooms for family and guests are housed within the long volume connected to the main "hale", while the grand bedroom suite occupies its own block opposite.

The interiors feature polished concrete floors, exposed steel columns and bald cypress ceilings.

The guest-bedroom wing and living area are equipped with barn-style doors, which slide open so that indoor activities can easily spill into the outdoor spaces.

Section of the living volume's longer sides both retract, creating an unobstructed view from mountain to sea.

Even when closed, horizontal gaps in the grey-stained cypress facades allow for natural ventilation, while exaggerating the lines of the architecture. At night, light from inside glows softly through the slatted walls.

Photography is by Matthew Millman.

Project credits:

Architecture: Walker Warner Architects
Walker Warner Architects project team: Greg Warner, principal; Thomas Clapper, senior project manager; Dan Baciuska, Matthew Yungert, Boyce Postma and Darcy Arioli, architectural staff
Landscape: David Y Tamura Associates
Builder: Metzler Contracting Co
Lighting Design: Anna Kondolf Lighting Design
Structural Engineering: GFDS Engineers
Mechanical Engineering: Hakalau Engineering
Electrical Engineering: Morikawa & Associates
Civil Engineering: Aina Engineers
Geotechnical Engineering: Geolabs

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American firm Walker Warner Architects has perched a basalt and cedar-clad holiday home in Hawaii on a mountainside of lava rock with an infinity pool that looks towards the sea.

Named Kua Bay Residence, the house overlooks its namesake on the coast of Kona.

The rooms and spaces of Kua Bay Residence are designed to seamlessly transition into one another, a concept informed by the way in which lava and water flow towards the Pacific Ocean.

"The challenge was to manipulate the site so that the house would blend with the landscape while providing a graceful and multi-layered experience from mountain to sea," said Walker Warner Architects.

Visitors enter at a private driveway, built between dramatic 15-foot-high (5-metre-high) lava rock formations. The rugged landscape reduces Kua Bay Residence's visual impact from the road.

The driveway leads to a sunken car park with a garage, which is hidden from the rest of the property by decorative Corten steel panels that also conceal a small guest house.

Covered by a green roof, the guest house blends into the lava rocks which tower over it.

"The roof is naturalised with lava rock and native grasses, which further emphasises the building's direct relationship with the site," explained the architecture firm.

Large windows from the guest house's bedroom suite display a small, mountain-facing terrace with a private outdoor shower. The terrace takes the form of a rocky grotto with a reflective water feature designed to mimic molten lava.

Towards the house's main volume, an elevated courtyard runs alongside more reflective pools.

Positioned in parallel to the other side of the courtyard are a cluster of trees and a large lawn, at the end of which sea-views are revealed through the house's floor-to-ceiling glass doors.

Light-coloured Alaskan yellow cedar contrasts with darker basalt and steel to form Kua Bay Residence's main volume, which is filled with similarly light and neutral furnishings to offset darker surroundings.

A sea-facing traditional Hawaiian lanai, or terrace, opens out onto decking that becomes an infinity pool with expansive views. Kaho'olawe, the smallest of Hawaii's eight main volcanic islands, can be seen on the horizon.

"The house's site captures the stark contrasts between land and sea in Hawaiian topography," said Walker Warner Architects.

Walker Warner Architects is based in San Fransisco, and was founded in 1989. The firm recently transformed a warehouse into a wine tasting room in Healdsburg, California.

Other projects built in volcanic Hawaiian settings include a raised house by Olson Kundig positioned on a lava field, and Phoenix House, a dwelling on Big Island which sits at the base of Kīlauea volcano.

Photography is by Laure Joliet, Douglas Friedman and Marion Brenner.

Project credits:

Architect: Walker Warner Architects
Interiors: Nicole Hollis
Landscape: Lutsko Associates
Builder: Ledson Construction
Structural: GFDS Engineers

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Architecture firm Olson Kundig has designed five pavilions with overhanging roofs to form this residence situated on a lava field in Hawaii.

Hale Lana is a 17,200-square-foot (1,598-square-metre) house designed for a couple who wanted ample space to host large gatherings on Hawaii's Big Island.

Its name translates to "floating home" as each structure is lifted slightly above the lava bed – a plain of flat lava flows. Piles of the red and black rocks are situated around the grassy property and form a cascading hill at its edge.

"The intention was for the home to feel like a canopy on the Hawaiian landscape, transparent between inside and outside," said Olson Kundig design principal Tom Kundig.

Glass walls and open walkways face the lush greenery and monolithic rock walls that enclose the property.

Corrugated metal covers the house's double-pitched roofs, which are modelled after traditional homes on the island. The expansive covering spans across each unit to cantilever over the wood decking edging each structure.

"Hale Lana's roof picks up on the local Hawaiian vernacular, where large canopy roofs gather prevailing trade wind breezes and keep them moving through the building,"Kundig added.

"However, this project takes that idea to a new level structurally with a very long cantilever and an extremely precise leading roof edge."

Each of the five wood volumes is fronted with sliding glass doors that open onto the covered terraces wrapped around each of the units.

A series of adjustable wood shutter screens attach to a track installed in each building to allow for control over changing environmental conditions, such as sun exposure and wind direction.

The largest structure is encased with sliding glass doors houses the kitchen, main living area and several bedrooms. A covered lanais, or veranda, connects it to the other four buildings: a master suite, guest suite, utility space and cabana.

Inside, the ceilings are clad with wood planks seamlessly continued from the underside of the roof canopy.

A full kitchen with stainless steel appliances, a black bar counter and seating furnish the cabana, which faces a long swimming pool situated in the backyard.

Wood benches, outdoor dining tables and couches are arranged on the deck spaces between the connecting units.

Since Olson Kundig was founded in 1966 by architect Jim Olson the practice has completed a number of projects, including a residence nestled into the Brazilian rainforest and a large house in Los Angeles overlooking West Hollywood's Sunset Strip.

Walker Warner Architects has also designed a house in Hawaii that comprises several structures and designer Will Beilharz also constructed a tiny wood guest house on a lava field on Big Island.

Photography is by Nic Lehoux.

Project credits:

Design principal: Tom Kundig
Project manager: Todd Matthes
Project architect: Katherine Ranieri
Architectural staff: Gregory Nakata
Interior design: Debbie Kennedy
Interior design staff: Amanda Chenoweth, Kathy Hanway, Maresa Patterson and Crisanna Siegert
General contractor: Dowbuilt
Civil engineer: Kona Wai Engineering
Structural engineer: MCE Structural Consultants
Mechanical and electrical engineer: WSP
Landscape architect: David Y. Tamura Associates
Lighting design: Niteo Lighting
Pool consultant: Kai Pono Builders
Steel and timber fabrication consultant: Spearhead Inc.

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Large pitched roofs top the volumes of this Hawaiian house, which US firm Walker Warner Architects designed to "strike a balance between modernity and tradition".

The 4,800-square-foot (445.9 square metres) home is located on Hawaii's Big Island, atop a hill overlooking the Pacific Ocean and the neighbouring Island Maui. Native grasses cover the lush site and surround the home.

Four wood-clad volumes define a central courtyard to draw on the arrangement of traditional Hawaiian architecture.

The design of the houses also takes cues from the country's hale shelters, wooden houses with pitched thatched roofs that met the ground.

Walker Warner Architects said it designed the property to "strike a balance between modernity and tradition". To achieve this, it used the traditional references with contemporary forms and materials.

"The composition of canted steel columns, steep-pitched roofs, and rhomboidal window and door openings represent a contemporary interpretation of early Hawaiian shelters," said firm principal Greg Warner.

"They're like modernist lean-tos."

In Makani' Eka house, the firm used western red cedar for cladding and the roof shingles because it can resist heat, moisture, and insects that are typical to the climate. Stained sapele mahogany is used for the window frames.

The first volume seen from the site approach contains a garage and recreational room. The latter features a glazed corner with sliding panels that open onto the central courtyard.

Two of the other structures contain bedrooms. The guest suite is located across from the recreational room and garage, while the master suite is closer to the back of the property, offering the best views of the ocean and landscape.

The master suite also includes a private courtyard and a library. This area is a short walk away from the communal volume, which hosts the home's kitchen, living and dining room.

A glass-enclosed living room provides ocean views and connects to a generous patio covered by the structure's overhanging roof. This connects to the kitchen and dining room.

The interiors were completed by Philpotts, a studio with offices in Honolulu as well as San Francisco. It used vibrant fabrics and tropical accents to complement pale wooden surfaces on walls and ceilings.

"Philpotts-Miller sought to capture the 'adventurous nature' of the clients," said Walker Warner Architects.

"The use of colour is very playful and dynamic," Philpotts partner Marion Philpotts Miller added

Other projects in the Pacific State of Hawaii include a home that is designed with the aim to capture more water and energy than is consumed by its residents and a home spanned by a massive, angular roof by Johnston Marklee Architects.

Photography is by Matthew Millman.

Project credits:

Architecture: Walker Warner Architects. Greg Warner, David Shutt, Rob Campodonico, Anja Hämäläinen, Boyce Postma, Rina Wiedenhoeft
Interiors: Philpotts Interiors
Landscape: David Y Tamura Associates
Lighting: Lighting & Engineering Integrated
Structural engineer: Hayes Structural Design
MEP: Mark Morrison Mechanical Engineering
Civil engineer: Kona Wai Engi­Neering
Cabinetry and woodwork: Arc Wood & Timbers; Na Kalai La'au Woodshop
General contractor: Oakes Management

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University of Hawaii architecture graduate Joey Valenti has designed prefabricated and low-cost housing units made entirely from invasive albizia trees on the island of Oahu.

The prefab Accessory Dwelling Unit (ADU) – a type of small residence typically built in backgardens – form part of Valenti's greater Albizia Project, which spawned from his seventh-year dissertation.

The initiative aims to address Honolulu's affordable housing shortage, while restoring native forests. Like other island economies, Hawaii's heavy dependence on imports contributes to sky-high housing prices and the cost of living.

"A concern for homelessness in Hawaii is part of our core values, but we must also solve for the supply chain and ecosystem restoration challenges before pursuing commercial applications," Valenti told Dezeen.

Valenti aims to also solve another problem of thirsty Albizia trees, which can grow up to five metres annually and are problematic as their proliferation chokes out water sources for endemic flora.

They were originally introduced to Oahu in 1917 to reforest land previously used for cattle farming. In an ironic twist, the Hawaii Invasive Species Council now encourages eradicating albizia trees to support the native ecosystem.

"There's a surplus of this invasive species that people previously considered to be rubbish, just a problem," he said. "I challenged that we think of it as a resource instead."

With funding from sources including the Hawaii Housing Finance and Development Corporation and the US Forest Service, Valenti built a proof-of-concept called Lika on the campus of his alma mater, the University of Hawaii's Manoa School of Architecture.

Lika's design references traditional Pacific Islander architecture that uses solid timber, like the round thatch-roofed Samoan fale.

"In school we learned to base design concepts on elements of cultural significance, so I began investigating various low-tech, indigenous architecture in the Pacific Islands," Valenti said.

"The beauty of indigenous architecture is in its simplicity and structural integrity."

Since albizia is a soft, low-density timber, he employed new technologies in wood engineering and CNC digital cutting to fortify and cut out boards, which were then glued into layered panels before being shaped into arches and beams.

Valenti describes it as a "new version of cross-laminated timber".

"It's laminated all in the same direction, but these panels are almost like a thick layer of plywood," he added. "This would stabilise the wood and give it additional strength before cutting the parts."

Lika's dome-like design is not just low cost, but it also promotes air circulation by using wood louvers.

By eliminating three walls of a standard rectangular structure, natural airflow would reduce the need for air conditioning in Hawaii's tropical climate. The ADU is covered with a waterproof canvas roof sourced from a locally owned manufacturer that creates fabric commercial awnings.

"The bulk of the time and labour intensity happens in the shop," Valenti said. "Once everything is prefabricated, the entire structure can be installed in about a day."

A number of American cities that face housing shortages are seeing a rise in ADUs, including Seattle, where Best Practice Architecture converted an unused garage into a small black cottage for an elderly family member, and in Toronto, where Measured Architecture added a laneway house to a narrow, residential property.

During this year's recent Los Angeles Design Festival, a series of architect-designed granny flats were open for public tours. Also in California, British startup has teamed up with prefabricated housing company Koto to create a prefab, cabin-like unit that can be delivered to sites in San Jose in two weeks.

Photography is by Michelle Mishina.

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Architecture firm Snøhetta has unveiled a plans to renovate and extend a mid-century arts and performance complex in Honolulu, Hawaii.

Snøhetta designed the plan for the Neal S Blaisdell Center, a 22-acre (nine-hectare) complex on the island of Oahu. Constructed in 1964 as a living memorial for Hawaii's veterans and war heroes, today the centre forms one of the state's "premiere arts and cultural venues".

Developed in collaboration with local firm WCIT Architecture and AECOM, Snøhetta's proposal involves upgrading the existing mid-century arena and concert hall, adding new additions and improving circulation across the site.

"The Blaisdell Center draws nearly 800,000 visitors a year," said Snøhetta in a project statement. "As a fixture of the local community, it is known as a place where memories are made, where most locals attend graduations and cherish fond memories of the fish pond."

This existing pond prompted Snøhetta to add a series of water features across the complex, including fountains, jets and waterfalls. These, when paired with lush tropical pathways, are intended to promote community gathering, and better connections across the site.

"Inspired by local perceptions of space and environment that emphasise a deep connection to the land and a reverence for natural resources, the project is conceptually guided by the significance of water in Hawaiian culture," said Snøhetta.

The Arena and Concert Hall currently anchor opposite ends of the property, and the campus has long-struggled to balance pedestrian and vehicular movement between the two venues.

The masterplan aims to connect these two structures together by adding a new Performance Hall with 1,500 seats, and a new Arts Ensemble building, in between them. A new Exhibition Hall will also be built to replace the existing one, and join the Performance building via a lobby.

These new structures will feature stratified basalt bases and perforated terracotta screens around the tops, which Snøhetta says takes cues from existing structures on site.

"Referencing the unique breeze block facades found throughout Honolulu and Waikiki, the glazed screen provides a contemporary expression of the historic barrel tile screen walls found in the Concert Hall lobby," the firm said.

Renderings of the interiors show sculptural pale wood spaces, designed to add warmth and be "reminiscent of the swells of water and wind".

Other new additions include The Gardens and Event Plaza, which will be used for performances and recreation activities.

Snøhetta has also developed a renovation proposal to update the existing Concert Hall and Arena with a "light touch".

The Concert Hall, which hosts the Honolulu Opera Theatre and Honolulu Symphony Orchestra, will retain its rectilinear structure and low arches at its base, preserving the architectural vernacular of the open-air lanai. The refurbishment will fill voids on the lobby's upper balconies with glass volumes.

The Coconut Grove surrounding concert hall will be given wider pathways and plenty of tropical plants, to make the outdoor area suited for intermission, receptions, cafe seating and small gatherings.

Other amends will be made to the scalloped, circular complex The Arena. While its exterior features will be preserved, the interiors will be overhauled to better suit hosting performances and rock concerts.

Snøhetta has also proposed enclosing the arcade wrapping the building, to create a more comfortable, air-conditioned space. Additional details include feathery, slender louvres that will be added to control the building's sun exposure.

Completing the masterplan is a new pathway that connects back-of-house facilities with a single, below-grade service area. Tropical plants and gardens will be used to conceal this new support space.

A stormwater management system will be placed along the street edge to filter groundwater, and the centre's original fish pond will be preserved. Also included are a new parking structure and sporting facility.

Blaisdell Center is located in the hub of Honolulu, with the capital city's skyscrapers and beaches nearby. It is flanked on by major roads on three sites, and is also near the Honolulu Museum of Art.

American firm Studio Gang has also recently unveiled plans to build a 41-storey residential tower in the capital.

Other recently completed projects include Shoreline Waikiki hotel by BHDM, a skyscraper with a cantilevering glass-bottom pool by SCB, a renovated hotel by OMFGCO and a property sales centre by Woods Bagot.

Founded in 1989 by Craig Edward Dykers and Kjetil Trædal Thorsen, Snøhetta is an architecture and design office based in Oslo and New York City, with other outposts in San Francisco, Stockholm, Innsbruck and Singapore.

Other new civic projects also by the firm include an Italian mountaintop museum, a major new opera house in Shanghai, and an island-like student district in Budapest.

Renderings are by Snøhetta unless stated otherwise.

Project credits:

Design team: AECOM, Snøhetta, WCIT, Theatre Projects, Gensler (master plan phase)
Client team: City & County of Honolulu Department of Design & Construction, Department of Planning & Permitting and Department of Enterprise Services

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A jagged roofline and textured facades define a dual-purpose university facility by Perkins+Will in Kapolei, a growing town on the mountainous island of Oahu.

Housing both offices and educational spaces, the Administration and Allied Health Building is located on the University of Hawaii's West Oahu campus, which was formerly the site of sugarcane fields. The building acts as a gateway structure on campus and also book-ends a great lawn.

The project was designed by the LA studio of Perkins+Will, in collaboration with Hawaii-based KYA Design Group.

"The design of this building through its siting, its form and its engagement with the land was influenced by the ecology and history of its location," said Mark Tagawa, an associate principal at Perkins+Will, in a project statement.

"We wanted to create a facility that interacted with the landscape in a sympathetic way, through water management, landscaping and materiality."

Totalling 43,000 square feet (3,995 square metres), the facility consists of two wings joined by a connector element. One branch houses offices and unites administrators in a single location. The other wing contains general purpose classrooms and laboratories for various fields of science, including microbiology and organic chemistry.

The building is composed of sculptural forms with gabled roofs. Walls are made of concrete masonry units (CMUs) that feature a geometric pattern inspired by kapa – a traditional Hawaiian fabric. "The intricate, playful geometry connects the building with the existing campus," the team said.

On the southern facades, the team incorporated deep balconies – called lanais – which overlook the great lawn and help shade the building. The lanais were envisioned as both gathering spaces and extensions of the classroom.

Inside the facility, the team created a variety of flexible spaces for working and learning. "The challenge was how to best consolidate the distinct functions of teaching labs and classrooms within the same building as office space for the campus administration," said Tagawa.

The landscaping around the building is meant to help restore the site's environmental integrity. Decades of tilling depleted the amount of organic matter in the soil, in turn decreasing its "ability to retain water and support new plant life".

"This project seeks to demonstrate the university's leadership and stewardship for new development in Kapolei," the team said. "It aspires to restore, heal and rebuild the topsoil through nitrogen-fixing planting, to implement onsite ecological water and nutrient management, and to regenerate and revive native landscaping."

Perkins+Will, an American firm established in 1935, has completed a variety of education and cultural facilities over the past couple of years. These include a waterfront building for a research organisation in Baton Rouge, a library surrounded by colourful strips in Toronto, and a trade training school in Ontario.

Photography is by Andrea Brizzi.

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The wavy bands that will stretch up this residential tower, which US firm Studio Gang has designed for Honolulu, are based on the shapes of sugarcane plants.

Columns will run up between the windows and balconies of the 41-storey Kō'ula skyscraper, which will be built as part of the Hawaiian capital's huge waterfront development called Ward Village.

The bands are curved to maintain views of the coastal surroundings from the 565 residences inside. The undulating shape "pays homage" to the sugarcane plants that once grew in the area, according to Studio Gang.

"The exterior design creates a fluid, waving facade giving way to residences that bend to the coastline for stunning ocean views, natural light and breezy trade winds," said the firm in project description.

The wavy design follows a series of similar residential buildings that the firm has underway in America. These include a curvaceous tower in Los Angeles' Chinatown, a high-rise in San Francisco with twisting bay windows, and a scalloped concrete condo tower for New York.

Studio Gang's Honolulu tower on Queen Street will sit between the Ward Entertainment Center and the Central Plaza gathering space in the Ward Village, where architecture firm Woods Bagot has converted part of a 1960s office building into a sales centre for new residences in the development.

Kō'ula will include a public porch that leads to a courtyard, offering a new entrance to the plaza. Restaurants and shops will occupy the lower level of the building to also link with this outdoor public area.

Residences will occupy the floors above in a range of layouts, including studios, one-, two- and three-bedroom apartments. Sales are set to launch late 2018.

Canadian firm Yabu Pushelberg, which counts some of the world's biggest luxury brands as clients, is designing the interiors of the building.

Renderings show that these will include natural materials, colours and textures, and an abundance of greenery. Among the spaces is a communal area with stone flooring, huge slatted wooden doors and large windows.

A typical residence will be decorated with pale wooden flooring that matches cabinetry, doors and the kitchen island, with brassy and marble-like details. Open-plan dining and living rooms will boast expansive views of the surroundings.

Kō'ula residents will also have access to a swimming pool, where trees will be planted between slatted wooden volumes that run alongside the pool to provide private sunbathing nooks.

Studio Gang, which has offices in Chicago, New York and San Francisco, was established by Jeanne Gang in 1997.

Earlier this year, the architect announced that she had closed the gender pay gap at her firm and called for others to follow suit and "fix pay inequity".

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Design agency OMFGCO has overhauled and restored a hotel in Waikiki, drawing inspiration from Hawaiian mid-century modernism to create a lush getaway.

OMFGCO, a design consultancy based in Portland, was originally tasked with producing a new branding concept for the Laylow Hotel, which originally opened in 1969 as the Coral Reef Hotel.

The team's idea was to return to the essence of mid-century design, and create a jet-set inspired getaway from the busy streets of Waikiki.

Moving the existing lobby to the second floor and away from the street was one of the key ways to achieve this.

The client, Rockbridge Hotel Development, then decided that it would be worth updating the ageing hotel's interiors to match OMFGCO's branding.

"When the existing interior design team declined the challenge, Rockbridge asked us if we would take on the interiors ourselves," OMFGCO said.

This was the agency's first experience with such a large and diverse scope of work. "Up to this point, we'd branded several hotels throughout the country, but we'd never gone further than working with an interiors firm, weaving brand and art moments into their solutions," they added.

A covered escalator leads up from Kuhio Avenue to the new lobby, which serves as the focal point of the redesign. Locating this area upstairs made it possible to add four guest rooms on  the ground level, and made the lobby more of a central gathering space.

"OMFGCO populated the public spaces with a combination of their own original furniture designs and curated items," according to a statement from the hotel.

These include vintage lounge chairs and bar stools, colourful terrazzo countertops, and a long accent wall made of breeze blocks designed by Patricia Urquiola for Mutina.

Throughout the hotel, floral wallpapers complement live plants that grow abundantly in the area. The interior finishes and furniture within the rooms are brighter than the public spaces, but use a similar selection of vintage pieces.

Other Hawaiian influences that informed the project include outdoor lounge areas within a bar with sand floors, and a saltwater swimming pool shaded by bamboo canopies.

By undertaking the concept, branding, artwork, and interior design aspects of the project, OMFGCO aimed to create a continuous experience throughout the hotel.

"The result is a cadenced, carefully choreographed experience that deepens along the way, through the reception area, pool, bar, restaurant, elevator lobby, corridors, and guest rooms," the agency told Dezeen.

Also in Waikiki, BHDM used bright colours for furniture and finishes when updating the Shoreline Hotel to create the state's "the most instagrammable" accommodation.

Photography is by OMFGCO unless otherwise indicated.

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US design studio BHDM was not shy with colour when renovating this hotel in Hawaii, where bold shades that echo the island chain's tropical flora and fauna were chosen to entice "the millennial-minded traveler".

Located a stone's throw from Honolulu's famous beach, the Shoreline Hotel Waikiki was redesigned by BHDM to make it "the most instagrammable hotel in Hawaii". The image-sharing platform's influence on interior design has grown considerably since it launched in 2010, with clients now requesting strong Instagram appeal in their briefs.

To make Shoreline's interior photo-friendly, the team – led by designer Dan Mazzarini – chose furniture and fabrics in a mix of the brightest colours possible. Combined with tropical prints and ombre murals, the clashing colours follow a theme that the studio described as "nature meets neon".

"Bringing to life the dramatic landscape and sunsets of Hawaii with a contemporary twist, BHDM's design for Shoreline incorporates the colours and textures found in the nature and wildlife of Hawaii and filters them through a neon lens," said a statement from the studio.

Starting in the reception area, a hot-pink carpet and panelled wall are accompanied by a neon sign that spells out Hawaiian greeting "aloha". The same flooring continues into a lounge area, where furniture is upholstered in yellow, teal, blue and red.

Narrow windows stretch the full height of the tall space, and white polystyrene reliefs stretch 22 feet (6.7 metres) across the opposite walls.

White cages hanging from the ceiling provide homes for paper models of native birds. At night, these fixtures are revealed as neon lights that turn the room pink and purple.

Corridors leading to the guest rooms are decorated with floral wallpaper and patterned carpets. The bedrooms are either pink, teal or blue, with combinations of other colours used for custom bedspreads, carpets, furniture and accessories.

On bright feature walls behind the beds, topographic models of the Hawaiian archipelago provide a map that points out "you are here", written in Mazzarini's handwriting. Hints of colour also feature in the white bathrooms, like the metal towel rails that match the "aloha" sign in reception.

A pool deck on the roof and the stairwell leading up is enlivened by a mural curated by BHDM and painted by California-based artist DJ Neff, while lighting is used to create "a colourful poolside experience with sweeping city and beach views".

Founded in 2008, BHDM has offices in New York, Los Angeles and San Francisco. The studio typically uses strong colours and statement pieces in its designs, which include a hotel in Miami Beach where a polar bear holding a beach ball stands in the lobby.

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Design consultancy LifeEdited has built a family home on Hawaiian island Maui, as a model for sustainable, off-grid living.

The LifeEdited: Maui residence was completed last year to showcase methods of constructing, furnishing and running a house with as little environmental impact as possible.

The black building is entirely self-sufficient, boasting a combination of design and technology features that save and produce energy, and collect and store rainwater.

"We are presenting a vision of the future that is sustainable, resilient and frankly, awesome," said LifeEdited founder Graham Hill.

"With as much as 70 per cent of global carbon emissions tied to constructing, operating and furnishing buildings, the project is a firsthand representation of how we can reshape our future, starting with life at home."

The two-storey house sits on a steep remote site. Measuring 1,000 square feet (93 square metres), its flexible layout includes four bedrooms, two and a half bathrooms, and an indoor-outdoor area for cooking, eating, working and relaxing.

All of the living space is located on the upper level, while a garage and storage facilities are housed underneath.

Space-saving furniture in the lounge and bedrooms allows the areas to be used for different functions, depending on the occupants. LifeEdited said the home is capable of entertaining up to 20 people.

The house is outfitted with efficient LED lights and a low-energy air-conditioning system. Windows and sliding doors are made from a high-performance composite called Fibrex, while tiles are partially composed of recycled materials.

Thin solar panels cover the gently pitched roof, collecting 10,550 watts of power to supply everything in the house, and charging a 1973 Volkswagen Thing that has been converted to electric. A Blue Ion 2.0 Energy Storage System in the garage acts as a battery.

Rainwater is collected from the roof via chains at each corner, filtered on-site and stored in a tank close to the home.

LifeEdited: Maui is designed to comply with the Hawaii Clean Energy Initiative, which aims to implement 100 per cent clean energy across the island chain by 2045.

The second largest of the Hawaiian islands, Maui is a popular location for holidaymakers, second homes, and retirement retreats.

Other new houses on the island include a getaway comprising to small pavilions and a clifftop residence with a faceted concrete roof, which are both designed to make the most of the warm climate.

Photography is by Shawn Hanna.

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A skyscraper in Hawaii has become the latest to feature a vertigo-inducing swimming pool, allowing brave swimmers to look down through its transparent base.

The glass-bottomed pool extends out from the seventh floor of the Anaha complex in Honolulu, designed by Chicago-based studio Solomon Cordwell Buenz (SCB) in collaboration with local firm Benjamin Woo Architects. San Francisco-based Surfacedesign was responsible for the landscape design, including the swimming facilities.

Cantilevered 75 feet (23 metres) above the ground, the pool is the latest in a string of similar designs to be proposed or completed around the world. One can be found at a residential tower in Houston and another extends from a hotel in the Italian Alps, while plans are in place to build pools with glass bottoms in London and Surat, India.

The rest of the 38-storey Anaha tower features green-blue glass cladding, chosen to mimic the colours of the nearby Pacific Ocean. It comprises a stack of volumes with curving walls, offset from one another to look like waves, reaching 400 feet (122 metres) tall .

"The composition is reminiscent of the play between the crests and troughs of a calm ocean wave," said a statement about the project. "And like a wave, the reflection of light off the facade will constantly alter as the viewpoint and environmental conditions change."

For those not brave enough for the pool, other amenities are spread over an acre of space indoors and out, including a restaurant serving local cuisine.

The building also boasts Hawaii's largest living wall, which covers a surface 80 feet (24 metres) wide by 15 feet (4.6 metres) tall in the grand lobby and contains over 8,000 species of tropical plants.

A total of 318 residences are contained within the complex, with 244 studios, one-, two- and three-bedroom homes in the tower, along with 73 low-rise flats and townhouses.

It forms part of the wider Ward Village development of shops, restaurants, entertainment venues and public spaces in central Honolulu – the largest city on the Hawaiian island chain, located on the southern shore of Oahu.

Photography is by Nic Lehoux.

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The volcanic archipelago of Hawaii is next in our series spotlighting residential architecture from each US state. The tropical islands are home to clifftop dwellings, beachside abodes and palm-fringed villas.

Hut House by Johnston Marklee

Traditional Hawaiian hut geometry informed this courtyard house by Johnston Marklee, which comprises four separate volumes grouped beneath a single roof.

Although the tropical setting allows for outdoor living, it is also prone to extreme rainfall at times, so the Los Angeles architecture firm sought to provide outdoor spaces that would be protected from the rain.

Find out more about Hut House ›

Hale Nukumoi by Walker Warner Architects

US firm Walker Warner Architects designed this large residence with a room that opens onto a patio, a grassy poolside and sea views.

Located on Kauai, the house is surrounded by palm trees, adding privacy along the entrance, and has a backyard with a swimming pool that overlooks the ocean and a popular public beach.

Find out more about Hale Nukumoi ›

Clifftop House on Maui by Dekleva Gregorič Arhitekti

The owners of this home by Ljubljana firm Dekleva Gregorič Arhitekti can clamber onto its faceted roof to enjoy a lofty view of the Pacific Ocean.

The clients, also from Slovenia, needed to relocate to Hawaii for the husband's job fabricating sails used for windsurfing – a popular sport in the area – so tasked the architects to design a three-bedroom home on clifftop plot with dramatic views.

Find out more about Clifftop House on Maui ›

Kauhale Kai by De Reus Architects

A series of steep-roofed pavilions linked by gardens and external corridors make up this home by De Reus Architects on Big Island.

The sprawling house is located on the island's northern Kohala Coast, overlooking Kaunaoa Bay, and is based on the area's thatched-hut village settlements known as kauhale.

Find out more about Kauhale Kai ›

Lavaflow 7 by Craig Steely

A huge concrete beam appears to balance on its edge along the roof of this house by Californian architect Craig Steely.

Constructed on the lava slopes of Hawaii's most active volcano, the residence is divided into two halves and connected by the long concrete beam that soars overhead.

Find out more about Lavaflow 7 ›

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Traditional Hawaiian hut geometry informed this courtyard house by Johnston Marklee, which comprises four separate volumes grouped beneath a single roof.

Although the site on Hawaii's Big Island is in a tropical setting that allows for outdoor living, it is also prone to extreme rainfall at times. Los Angeles architecture firm Johnston Marklee therefore sought to provide outdoor spaces that would be protected from the rain.

"The Hut House embraces the notion of indoor outdoor living by creating an equal amount of insulated indoor spaces and sheltered outdoor spaces," said the studio, whose cofounders Sharon Johnston and Mark Lee served as artistic directors of last year's Chicago Architecture Biennial.

In total, the single-storey home encompasses 7,600 square feet (706 square metres) and includes three bedrooms.

The architects organised the layout into four distinct volumes: a communal area for living and dining; a master suite; guest bedrooms with their own living room; and a block for the garage and mechanical rooms.

A central courtyard connects all these spaces. "The building is a hybrid of the traditional Hawaiian roof typology and the Spanish courtyard typology," the architects explained.

Deep overhanging eaves form a veranda, or lanai, which creates a continuous external circulation around the home's periphery. From here, gaps between the four volumes provide access to the central courtyard.

"The lanai is broken into a series of distinct places oriented toward different views of the panoramic landscape," said the architects.

Inside, the roof's distinctive geometry creates a variety of ceiling heights. Each of the four volumes is topped with a skylight, bringing more natural light to the interiors.

"The roof thus acts as both an umbrella and a funnel, sheltering the house from the elements while filtering natural daylight and air," said Johnston Marklee.

A short distance away from the house, the architects included a minimalist concrete pool that nests into a slight slope.

Interiors were kept simple, allowing the faceted roof geometry to act as a focal feature. A selection of minimal furniture complements the aesthetic.

Other homes across the Pacific archipelago include an estate at the foot of a volcano that is inspired by Hawaiian summer camps, and another property with a faceted roof that residents can climb up onto to enjoy better views of the ocean.

Johnston Marklee has also completed a beach house in LA made up of arches, and a circular holiday home as part of the Solo Houses project in Spain.

Photography is by Eric Staudenmaier.

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US firm Walker Warner Architects has designed a large residence in Hawaii, where a great room opens onto a patio, a grassy poolside and sea views.

The Hale Nukumoi residence is located on Kauai – most northerly of the larger islands that make up the tropical archipelago. The house is surrounded by palm trees, adding privacy along the entrance, and has a backyard with a swimming pool that overlooks the ocean and a popular public beach.

The two-storey residence is constructed from pigmented concrete, with dark timber cladding on its upper portion, and topped with a low-pitched roof that has wide overhangs. Inside, ceilings are covered in timber to match the exposed beams visible on the undersides of the eaves.

"The home's material palette seems to spring from the land itself: coral-coloured concrete, peeled ohia logs, and dark tile that recalls nearby lava flows," said lead architect Greg Warner of Walker Warner Architects, which are based in San Francisco.

A grassy fenced-in driveway and a set of steps lead up towards the main room, which can be opened up on both sides.

"The house makes skilful use of oversized sliding doors, a custom rain screen, and layered plantings that close the house when desired for privacy," said Warner.

This indoor-outdoor room sits next to a patio, or lanai, which is furnished with two large couches and overlooks the pool. Attached is an outdoor bar with a large table and an outdoor grill.

Warner Walker Architects collaborated with Stacy Stone of Stone Interiors, also based in San Francisco, for the overall design of the beach house.

An abundance of dining and seating options is available across the ground floor. A kitchen with an eat-in island, a small bathroom, and two bedrooms each with their own private bath complete the lower-floor plan.

A stairwell divides the sleeping and living portions, and lead up to three additional bedrooms, one being a master suite that overlooks the beach.

The home's five bedrooms allow for a large number of guests, with younger visitors catered for with bunk beds in the middle upstairs room.

The interior is organised with "ship-like efficiency with numbered bunks, hooks, and storage baskets" in the upstairs bedrooms, said Warner. This numbering system helps guests keep their belongings tidy and out of sight.

Light-toned floors and walls run through the interior, with ceilings and cabinetry clad in wood to match the ceiling beams.

Other homes that take cues from Hawaii's natural surroundings are a pod-like residence modelled on a summer camp, also by Warner Walker Archietcts, an oceanfront house with an angular timber roof built for walking on by Dekleva Gregorič Arhitekti, and a petite two-storey guest house that stands on a lava field by Will Beilharz.

Photography is by Matthew Millman.

Project credits:

Project architects: Greg Warner and Thomas Clapper, Walker Warner Architects
Interior Designer: Stone Interiors
Landscape Architect: Ron Lutsko, Lutsko Associates
Builder: RS Weir General Contracting

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This complex at the foot of a volcano in Hawaii was modelled on a summer camp, where Walker Warner Architects has spread out living spaces across a series of cabins on the site.

The Kahua Kuili home is sited on a former ranch on Hawaii's Big Island and faces expansive views of the Pacific Ocean and Kua Bay, as well as mountain views of Hualalai. Walker Warner Architects, based in San Francisco, sought to reference local building styles in the design.

"The residence is a modern interpretation of the classic Hawaii summer camp," said the firm. "Kahua Kuili incorporates numerous timeless elements that remain relevant to century-old architecture and design, and will be relevant for centuries to come."

The property is accessed via a small bridge that leads to a central lawn. Eight individual pavilions are organised around this outdoor space, providing a variety of gathering areas for the residents and their guests.

A large central building acts as the main social space, and contains the kitchen, living and dining rooms. Expansive barn-style doors on the east and west facades allow the structure to be cross-ventilated and open to views of the sea.

"It's tall ceiling, large windows and grand sliding doors that open to the backyard are cohesive with the open and airy theme of the house," said the architects.

The master suite sits just north of the central cabana, and includes a secluded outdoor space for the owners.

Across the lawn, the southern portion of the site contains two guest houses. Each of these has two bedrooms – each with a walk-in closet and individual bathroom, providing guests with plenty of privacy.

"In fashion with traditional Hawaiian architecture, Kahua Kuili is made up of multiple communal hang out spots that allow for interaction amongst residents," Walker Warner Architects said.

The southwestern edge of the site accommodates a series of communal spaces, including a tiki bar, a swimming pool, and a dining area where the residents can host luau – a form of Hawaiian celebration that includes outdoor cooking, music, and dancing.

Local materials were chosen for the design because of their aesthetic and longevity. "The buildings reinforce the camp-like aesthetic by utilising simple, durable materials such as board-formed concrete, western red cedar, oversized sliding doors, operable wood ventilation louvers, and rope lashing," said the firm, which completed the project in 2014.

Hawaii's fair weather makes the US state ideal for outdoor living. Another home on the island chain, by local architects De Reus, was designed as a small village linked by gardens and exterior walkways. On a smaller scale, Oregon-based designer Erin Moore completed a pair of units that frame a three-hundred year-old lava formation.

Photography is by Matthew Millman Photography.

Project credits:
Walker Warner Architects: Greg Warner, principal; Clark Sather, senior associate
Interior designer: Philpotts Interiors
Landscape: David Y Tamura Associates
Builder: Maryl Construction

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Oregon-based architect Erin Moore has completed a tropical getaway in Hawaii that consists of two pavilions sited on either edge of a 300-year-old solidified lava formation.

Situated at a high altitude on the island of Maui, with a cooler climate than the city below, Outside House is used by the client as a retreat for short periods of time.

"The Outside House is a place to live outside," said Moore, who runs a design-and-research practice called FLOAT. "Two small pavilions shape the basics of daily life and structure an intentional relationship with the land."

The first pavilion – located to the south – contains a bed, a small desk, and a reading nook. As opposed to the other structure, this cabin is fully enclosed.

"This pavilion is a tiny detached bedroom oriented to look up the lava flow and catch the first light of sunrise over cinder cones," said the architect. "After that brief morning sunlight, the room is in cool shade for daytime reading and napping."

Clad in wood and polycarbonate, the simple frame construction has built-in vents that allow for ample air circulation. It is raised from the ground on four concrete blocks, minimising its impact on the site.

Further away, a covered platform provides the residents with a small outdoor kitchen, terrace, and shower, all of which are open to views of the Pacific Ocean and the neighbouring island of Kahoolawe.

The structure of the service pavilion is made up galvanised steel, which was carried to the site by hand and assembled on the spot. "In keeping with the client's stewardship of the land, the pavilions are designed to be minimally connected to the ground and to be demountable," the architect said.

Preserving the land between the two pavilions was critical to the design, as the client has a long relationship with the site. Therefore, the space was left in its natural state.

"Her earliest memories of the place are of crawling through lava tubes near the now-endangered wiliwilis – Hawaiian trees historically used for canoe floats," said the architect. "The unbuilt areas of the Outside House — lichen on the lava, a curved rock wall, a growing endemic Mamane tree – are the essence of daily living in this place and what the client values most."

Outside House was completed in January 2017, and was awarded the first prize in the Building Voices competition, which recognises quality design on the tropical archipelago.

Other projects in the US state include a home overlooking the ocean with an undulating roof that people can climb up onto, and another tiny cabin that sits at the foot of the world's most active volcano.

Photography is by Oliver Koning.

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The owners of this Hawaiian home by Ljubljana firm Dekleva Gregorič Arhitekti can clamber onto its faceted roof to enjoy a lofty view of the Pacific Ocean.

Located in the region of the West Maui Mountains on the Hawaiian island's north coast, the three-bedroom home encompasses 450 square metres. The clients, also from Slovenia, needed to relocate to Hawaii for the husband's job fabricating sails used for windsurfing – a popular sport in the area.

They picked the site themselves, after carefully searching across Maui for several years, and settled on a clifftop plot with dramatic views.

Dekleva Gregorič's design comprises an angular roof that covers the five irregular volumes enclosing private areas. "Each separate 'mini house' is a U-shaped volume that opens up to frame the perfect ocean view," said the studio.

Three of these units encompass bedrooms with en-suite bathrooms. The largest volume is used for a two-car garage and sail-making workshop, and an additional smaller module acts as a home office for the residents.

Interstitial spaces between these enclosed areas form an open-concept living space. "A fluid public space between enclosed private volumes serves for cooking, eating, and lounging," the firm said.

A grade change on the site creates a two-level layout for the areas for entertaining. The lower level is used for cooking and informal lounging, while four steps lead up to the dining area. A dark leather sofa is set into these steps, facing the ocean.

Residents can access the expansive geometric roof, which the architects describe as "the ultimate terrace and playground". Its irregular form was inspired by the rugged landscape, and is covered in wooden slats that are due to weather to a natural grey patina.

The main feature of the house serves multiple purposes. It responds to the area's strong sun and wind conditions, and defines several covered outdoor spaces along the perimeter of the home.

"The area of the roof is twice the size of the house, so the size of the covered outdoor space equals the size of the indoor space," the architects said. "The house needs no air-conditioning, since it is cross ventilated throughout."

Local materials help to make the structure look at home in the Hawaiian landscape. For example, the architects rendered load-bearing walls with a plaster finish partially made of beach sand.

Construction of the home was a labour of love. Although the architects could not visit the site as often as they would have liked to, the clients took an active part in managing the project, and even participated in its physical construction.

Other homes in the state of Hawaii include an expansive home which is laid out like a small village and a wooden cabin that sits at the foot of an active volcano.

Photography is by Cristobal Palma and Anna Moller.

Project credits:

Architectural office: Dekleva Gregorič Arhitekti
Client: Robert and Drazena Stroj
Project team: Aljoša Dekleva,Tina Gregorič, Flavio Coddou, Lea Kovič

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A series of steep-roofed pavilions linked by gardens and external corridors make up this home by De Reus Architects on Hawaii's Big Island.

The studio designed Kauhale Kai for a client who is fond of modern art and architecture, and spent years living in Tahiti, and their extended family.

The sprawling house is located on the island's northern Kohala Coast, overlooking Kaunaoa Bay, and is based on the area's thatched-hut village settlements known as kauhale.

"[This] interpretation of the traditional, close-knit, Hawaiian kauhale settlement is an elevated version of the island's laid-back style, driven by restraint and understatement while designed for tropical liveability," said De Reus Architects, which has offices in Waimea and Honolulu, Hawaii, and Sun Valley, Idaho.

A series of seven pavilions, all with steep hipped roofs, are organised along axes that spread from a large swimming pool in the centre of the site.

Designed in what the architects describe as a "modern tropical" style, these pavilions, or hales, together total 6,700 square feet (620 square metres) of living space.

They are linked by a series of external routes, planted or walled on the sides to form corridors exposed to the elements.

"These transitional spaces add a gracious quality to the home and provide a unifying synergy between the hale structures, tropical plantings, large-scale stone exterior elements and the site's coastal views," De Reus Archiects said.

Like the small huts they are based on, each pavilion accommodates a different function. Some, like living and dining areas, have their sides open to the sea breezes. Others that house sleeping quarters are protected by floor-to-ceiling glass wrapped around their limestone columns.

Satisfying the client's affinity for Polynesia, a stacked-stone water features sits at the main entrance and a series of monoliths are dotted between the buildings.

Interiors, by Californian firm Saint Dizier Design, feature wooden columns, panelling and ceilings, with pops of colour provided by artwork and upholstery. Outdoor furnishings are kept minimal so as not to distract from the palm-fringed ocean views.

"Finding modernity, within this coastal community's strict traditional design guidelines, was a point of emphasis," said De Reus Archiects.

"The design team's efforts from the onset were to craft a modern sense of restraint, inspired by cultural cues from the Malayo-Polynesian cultures that had profoundly influenced the client's artistic tastes for decades."

Hawaii's dramatic volcanic landscape and white sand beaches are a draw for both holiday makers and those relocating permanently, who have built houses on the largest island in the US state's chain that range from tiny wooden retreats to impressive concrete villas.

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This tiny guest house by designer Will Beilharz stands on a lava field on Hawaii's Big Island, and has views of the steam produced where molten rock flows into the sea.

The 450-square-foot home is named Phoenix House as it is "literally rising from the ashes" of volcanic activity in the area. It is located in an off-grid community in Kalapana, at the base of the Kīlauea volcano – which has been continuously erupting since 1983.

Designed by Will Beilharz, founder of sustainable tourism company ArtisTree, the house is available for guests to book. Visitors only need to cycle four miles (6.4 kilometres) to watch molten lava fall 100 feet (30 metres) into the sea, and the resulting steam created where the hot liquid hits the cold water is visible from the house.

The building is clad in wood blackened using the ancient Japanese charring technique of Shou Sugi Ban, to blend with the dark surrounding landscape. Recycled, rusted corrugated metal covers the roof to mimic the colour of the hot lava.

"We built this house with deep respect for Mother Earth," said Beilharz. "For that reason, you will find the design minimalist, the development footprint light, and the result is one with its surroundings."

Split into three tiered sections, the home reaches two storeys at its highest point – where a double bed can be accessed from a ladder. Large windows provide views across the desolate expanse, while patio doors open from the ground-floor living space onto a small balcony.

Beilharz decided to add a property in Hawaii to his portfolio of treetop vacation rentals worldwide after visiting the island in 2006.

Without tall trees to anchor the building to, he took a different approach and simply constructed it at ground level. The home is raised off the bumpy surface on short stilts to minimise its impact on plants beginning to seed the area.

"Phoenix House, named after the mythical bird whose story is about rising from the ashes and the cycle of death and rebirth, is a place where people can stir their own next transitions or come to peace with the ones they are currently experiencing," he said.

Phoenix House costs between $100 and $150 per night, and can be rented through Airbnb. Nearby, Californian architect Craig Steely completed a concrete home divided into two halves.

Photography is by Smiling Forest, unless otherwise stated.

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Inside Festival: Nik Karalis of Woods Bagot explains how his team converted three floors of an iconic 1960s office building into a sales suite for a new residential development in Hawaii (+ movie).

Woods Bagot renovated several levels of the IBM Building by American architect Vladimir Ossipoff in Honolulu, Hawaii. These were transformed into a property sales centre for a huge new waterfront development called Ward Village.

The project won the Display category at Inside Festival 2015.

"It is a display suite for a residential masterplan in Honolulu," Karalis explains in this movie, which Dezeen filmed for Inside Festival in Singapore.

"We have converted a 1960s Vladimir Ossipoff Modernist masterpiece into a condominium sales centre for a development of 22 towers and 6,000 apartments."

Due to the difficulty and expense in transporting heavy items to the middle of the Pacific Ocean, Woods Bagot used local materials where possible.

The firm chose finishes that complemented the striking concrete brise soleil wrapping the outside of Ossipoff's original building.

The form of the brise soleil is also referenced throughout the project, alongside traditional Hawaiian motifs on the floors and walls both inside and outside the building.

"One of the things about being on an archipelago is that everything has to be shipped in, which is a complex thing to do," Karalis says.

"We used traditional timber and lava stone. Our palette was limited to those materials that were available and authentic to the project."

The sales centre occupies three floors of the former office building.

The ground floor features an exhibition space that opens out to the exterior landscaping.

"The setting of the project is in a tropical environment, and it gave us the ability to unify interior design and landscape," Karalis says. "We removed all the facades of the office building to turn it into an exhibition space."

Prospective buyers can then ascend to the sixth level of the building, which features more exhibition space and a number of display apartments, before heading up to the seventh floor to experience a penthouse suite.

"Level seven is when we actually reveal the penthouse and the view across the Pacific Ocean," Karalis says.

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"So it is a three-stage sales journey from understanding the development, understanding the buildings and then living the dream."

This movie was produced by Dezeen for Inside Festival. It was filmed at Inside Festival 2015 in Singapore.

Inside Festival 2015 took place in Singapore from 4 to 6 November, alongside partner event World Architecture Festival. Dezeen is media partner for both events, and is publishing video interviews with all the category winners.

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News: three international design teams, including architects Snøhetta and Allied Works, have developed designs for Hawaii's bid to host Barack Obama's presidential library.

The University of Hawaii commissioned three designs for its presentation in the battle to build the US President's official library this month, having identified a beach site adjacent to the Kaka'ako Waterfront Park.

Although the University of Chicago and Columbia University in New York are the current favourites to win the bid, Hawaii is hoping to tempt Obama by turning the library into a multi-purpose centre for education, including a Global Youth Leadership Academy and a museum.

All three locations have a personal connection with Obama, who grew up in Honolulu, studied at Columbia and worked in Chicago. Chicago mayor Rahm Emanuel was Obama's first chief of staff at the White House.

Scandinavian firm Snøhetta teamed up with Honolulu studio WCIT Architecture to propose a building that appears square from the outside, but opens at one corner into a rounded courtyard with a pool. One end of the structure meets the ground, providing public access to a roof planted with grasses.

The design team said the building was based on the idea of a coral polyp growing to create a "new environment". "The genealogy of the proposed site itself, reclaimed land sitting above what was once exposed reef shoreline, provides a historic precedent which reinforces this connection," they said.

New York and Portland firm Allied Works proposed a series of pavilion-like glazed structures, connected by a twisting roof with elongated teardrop-shaped openings.

"The design concept can be seen as a synthesis of three acts; each corresponds to specific aspects and core values of the centre: Land – 'Aina; Community – Ohana; and Integrity or Righteousness – Pono," said the firm. "United under a single roof, we are reminded that we are stronger together."

The final team, consisting of New York studio MOS and local firm Workshop-Hi also envisions a series of smaller spaces, connected with a green roof. The roof structure rises up from the ground and is then staggered over multiple rectangular levels, with large circular openings punched through each one to let light shine through.

"The proposed centre celebrates the diversity of Hawaii's natural environment by expanding the adjacent Kaka'ako Waterfront Park into a campus of interconnected pavilion structures, public accessible courtyards, a ramped landscape podium, and a large park-like roof structure composed of community and public gardens," said the team.

The university also commissioned Honolulu company Ferraro Choi and Associates to develop a "living building" system for the project, exploring "resource conservation and biomimicry-inspired building solutions".

Once a site and host university has been confirmed, the library will be built to commemorate the president's term in office with an architect selected personally by Obama.

Rumours have already linked British architect David Adjaye to the project, and the president has previously referred to Adjaye as his favourite architect. Adjaye has already designed a number of library buildings in North America, including The Francis Gregory Library and The William O. Lockridge/Bellevue Library in Washington D.C.

Hawaii said it commissioned its own architectural proposals to demonstrate the possibilities of the waterfront site.

"These architectural renderings are not meant to be prescriptive," said the official website for Hawaii's bid. "Rather these concepts are distinct impressions of what is possible on a site with magnificent views from mauka to makai (mountainside to oceanside)."

The University of Hawaii's bid is being backed by the state and municipal governments as well as a number of non-profit organisations and business sponsors.

Obama will select the winning site in March 2015, and the project is expected to cost $500 million with the president expected to begin fundraising in earnest next year. It will be managed by the The Barack Obama Foundation, which was founded in January 2014 for the purpose.

George W Bush's library completed last year at the Southern Methodist University near Dallas.

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A huge concrete beam appears to balance on its edge along the roof of this Hawaiian house by Californian architect Craig Steely (+ slideshow).

Constructed on the lava slopes of Hawaii's most active volcano, the concrete house by Craig Steely is divided into two halves, connected by a long concrete beam that soars overhead.

Timber beams and battons make up the roof, which runs beneath the concrete beam.

The living areas and master bedroom are separated from two further bedrooms by a lap pool and a veranda, which is partially covered by the overhanging roof.

Floor-to-ceiling glass runs the length of one facade, allowing uninterrupted views into the surrounding Ohia forest and out to the ocean beyond.

The architect was influenced by the native vegetation when designing the house. "The Ohia's brilliant red flowers, called the Lehua, are a striking contrast to the ruddy green leaves and shades of gray of the tree's bark and the black lava" says Steely. "Like the Ohia, the gray concrete house blends into the existing landscape of lava and trees while splashes of colour in the house mimic the Lehua."

The house is deliberately long and narrow so as to increase cross-ventilation, eliminating the need for the mechanical air conditioning.

The building incorporates a rainwater catchment system, which provides the house with cold water as well as a solar heating system for hot water.

Named Lavaflow 7, the house is the latest addition to a series of residences by Steely, all of which have been constructed on the rocky slopes of Hawaii.

Other concrete dwellings we've recently featured on Dezeen include a house composed of a cluster of concrete cubes, stacked up on a steep hillside and a rural house raised off the hillside on a pair of gigantic concrete columns.

See more stories about concrete design »

Here's some more information from Craig Steely:

Located on five acres of dense Ohia forest, this cast-in-place concrete house frames indoor and outdoor living spaces along with views of the forest, the sky, and the coastline on Hawaii's Big Island. It continues our exploration of a reductive architecture that enhances the experience of living in this compelling environment.

The main feature of the house is a concrete beam, 140 foot long, 48 inch tall x 12 inch wide running the length of the building with only three short concrete walls supporting it along its massive span. Laminated beams and wood planks make up the roof that hangs below it. The concrete beam allows for sizable spans of uninterrupted glass and covered outdoor space, which creates a permeable edge between the man-made and nature. These huge expanses of openness amplify the sensation of living in the Ohia forest.

Ohia trees are endemic to Hawaii. They are the first trees to grow on new lava flows. Lavaflow 7 sits on a 1955 lava flow on the slopes of Kilauea crater. The Ohia's brilliant red flower, called the Lehua, are a striking contrast to the ruddy green leaves and shades of gray of the tree's bark and the black lava. Like the Ohia, the gray concrete house blends into the existing landscape of lava and trees while splashes of color in the house mimic the Lehua.

The nature of the house is long and thin, with private and public areas divided by a lanai and bisected by a lap pool. The thinness of the house provides passive cooling through cross ventilation allowing for the elimination of mechanical air conditioning, consistent and diffused light quality in the rooms through out the day, and a view of the forest, sky, and ocean from every room. Other sustainable features include a rainwater catchment system that supplies all water used along with a solar heating system for domestic hot water. A loose distribution of spaces around the few solid walls creates a house that is equally open in all directions and welcomes nature in.

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Boston studio Ruhl Walker Architects have completed a wildlife recovery centre in Hawaii.

The centre provides a facility for the treatment of native wildlife, as well as rooms for research, training and education.

The walls of the building are covered with fibre-cement panels and transparent corrugated polycarbonate.

A sheltered terrace separates the education room from the main building and leads out to a garden where native plants are grown.

Large openings in the walls also open the education room out to the garden, while narrow slits create a large louvered window in the fibre-cement facade.

Another building from the Dezeen archive to house animals is a giraffe enclosure at a Rotterdam zoo - see the story here.

Photography is by William Ruhl.

Here are some more details from Ruhl Walker Architects:

The Hawai’i Wildlife CenterHalaula, Hawai’ianticipated completion, November 2011

The Hawai'i Wildlife Center is a non-profit conservation organization which will operate Hawai'i's first wildlife recovery center when this building is completed in late 2011. Located in Halaula, North Kohala, on the Big Island of Hawai'i, the HWC is dedicated to the conservation and recovery of Hawai'i's vulnerable, too often endangered native wildlife through hands-on treatment, research, training, science education, and cultural programs. The new complex will consist of three integrated and sustainably designed components: a wildlife care and response facility, an interpretive and outreach lanai and native species garden, and an open-air education pavilion.

The design of the HWC is an abstraction of the archetypal Hawaiian commercial architecture of the nearby towns of Hawi and Kapa'au, with a planar front facade concealing conventional (affordable) shed and gable-roofed forms behind. The front facade of the HWC is a collage of flush fiber cement lap siding and trim of varying dimensions held apart to enhance natural ventilation to the open air education pavilion, lanai, and staging porch. At the education pavilion, these fiber cement slats are modulated to create an oversized 'window' facing the street. Behind the main facade, the walls of the treatment facility are sheathed in locally fabricated corrugated steel, while the walls of the staging porch and education pavilion are sheathed in translucent corrugated polycarbonate. The HWC will be naturally ventilated and cooled by the dependable trade winds, its water will be stored in catchment tanks and solar heated, and its non-emergency electrical needs will be met by roof mounted photovoltaics.

Click above for larger image

Client: Hawai’i Wildlife Center
Architect: Ruhl Walker Architects
Associate Architect, Construction Administration: Rhoady Lee Architecture and Design
Landscape Architect: Umemoto Cassandro Design Corporation
General Contractor: Tinguely Development, Inc.
Construction Manager: Meridian Construction & Development
LEED Certification and Development: Ryan Associates General Contractors
Structural Engineer: William Blakeney Structural Engineers
Civil Engineer: Peter JK Dahlberg, PE, LLC
Mechanical Engineer: Mark Morrison And Associates
Electrical Engineer: Smithsonian / SAO
Wastewater system and solar photovoltaic engineering: Kohala Engineering
Land Survey: Pattison Land Surveying Inc.
Windows and doors: Coastal Windows
Plumbing Fixtures: Kohler

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