Below is my full response:

Architecture by existence is typically a static response to the condition of human needs. The design brief which our dead ancestors responded to is not dissimilar to what we recognise today. The built environment has always dealt with similar issues of shelter, politics, responsibility and privacy.

If we do not test our requirements then how can our lifestyles evolve? To answer the above question I’ll assume we use architecture to play an active role in provoking future lifestyle desires.

If we assume our lifestyles can evolve more rapidly over the next century then we need to investigate the way in which architecture can provoke change. If we view Architecture broadly and as the environment which surrounds the way we live then it should in turn be capable of evolving the way we inhabit our environment.

Architecture should in fact be more powerful and genuine than the debate of aesthetics which typically surround our industry.

Architecture is too often exclusive, which eliminates the possibility for public interpretation and mobility. The insignificant decisions that individuals make in life are by nature experimental, so why does architecture as a profession need to be predictable and calculated?

I’d like to see architecture evolve faster and more experimental, this inturn will provoke change. Architecture needs to be responsive but also questionable – personally I am interested in the potential for nomadic lifestyles based around theories of derive, this is of cause one of multiple avenues.

N55 is a young firm that creates ‘Architecture’ by providing instructions for living, their products are not always a building and they do necessarily need a client. The walking house is a project capable of moving location; it becomes a ‘do-it-yourself’ approach which in turn creates a dynamic possibility of freedom. It questions concepts of the profession, landownership and movement.

Manual for Walking House

The project begins to investigate a nomadic lifestyle which breaks down the static nature of our surroundings; the environment which we form around ourselves is capable of continual change. Architecture has the potential to explore these concepts.

Another project by N55 is Called Public things, the project creates a system which is accessible to all and supports the basic needs of living. It explores making the private highly public and removes concepts of ownership; again such a project supports a nomadic lifestyle which questions traditional concepts of the design brief.

Manual for Public Things

By questioning and experimenting with our environment and the traditional values of our current society we can become exposed to change. I believe the profession of architecture needs to begin to explore such values if we hope to provoke lifestyles that are different from today. Architecture responds to future need by provoking new ideas.

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Whether due to conservation issues, the limited availability of space for new ventures or because public campaigns are successful in saving beloved landmarks, adaptive reuse projects are on the increase. Old buildings breathe new life, albeit in an altered state, offering a chance to embrace past designs while looking to the future. Here we share seven excellent examples of adaptive reuse from around the globe.

1. Battersea Power Station

Images: Battersea Power Station and Keith Evans

Easily one of the most recognised landmarks on the banks of the River Thames in London, Battersea Power Station has been lying abandoned for decades. Like the old power station just around the bend of the river – the Tate Modern – there have been calls to pull down the dilapidated structure, for a number of reasons. Some said that due to its size it would be too expensive to redevelop, others claimed that the elements had given it such a bettering over the years that it had become relatively unsound. Now, after numerous failed attempts to revive the building and immediate area, plans for one of the biggest redevelopments the south bank of London is yet to see are afoot, and they certainly look impressive.

Proposed by Dublin-based Treasury Holdings, the new design will see a mainly industrial area of London go green, which is what the potentially lucrative Nine Elms area around Battersea has been crying out for. The new £5.5bn scheme includes plans for 3,700 homes built alongside offices, shops and restaurants on the 40-acre site. The famous chimneys are to be restored to their former glory and the landmark building will house a conference centre, among other things. The new plans will also offer uninterrupted views of the Palace of Westminster on the opposite banks, one of the stipulations of the new development, and the reason Treasury Holdings earlier plans, which included a huge ‘eco-dome’ (pictured above) were rebuked.

2. Sewage Silos, Netherlands

Images: Arons en Gelauff

Early in 2009, Amsterdam city planning ran a competition for an adaptive reuse project concerning a former sewage treatment plant in the Zeeburg district of the city. The winning design was a proposal for a multifunctional cultural centre, which would house exhibition spaces, a media centre, movie theatre and theatre hall, crowned by a rooftop restaurant in one silo and an open rooftop playground in the other.
The winning plan was inspired by Holland’s most popular children’s book author, the late Annie MG Schmidt, hence the playfulness of the design. Arons en Gelauff, architects involved in the project, said the main aim was to “breathe new life into the silos, transforming them into an inspiring and lively place, which will help shape the character of the new Zeeburgereiland housing district.” The Annie MG Schmidt House is marked for completion in 2011.

3. Gasometer City, Vienna

Images: Andreas Poeschek and via Dornob

One of the most successful residential reuse projects is Gasometer City, in Vienna Austria. Four immense disused gasometers were successfully revamped in the late ‘90s and have since become infamous in the world of adaptive reuse.

Built in 1896, when Viennese authorities decided to invest in large-scale coal gas and electricity supplies, the gas plant serviced the locale and beyond for a good 88 years, until it was shut down permanently in 1984 after natural gas supplies took over. Although, life in the cylinders didn’t completely disappear; raves were hosted from time to time, popular because of the acoustics inside the drums, and one housed a set for the movie James Bond: The Living Daylights. Then, in 1995, the decision was made to revitalize the gas plant.

With the proviso that the brick exterior of the gasometers was to be kept intact, each gasometer was remodelled by a particular architect: Jean Nouvel (Gasometer A), Coop Himmelblau (Gasometer B), Manfred Wehdorn (Gasometer C) and Wilhelm Holzbauer (Gasometer D), all four with specific zones for living, working and entertainment. The result produced a vast walled city within a city. The unique redevelopment has since become a sought after place to live with a close-knit inner community, and is looked upon as a very successful example of adaptive reuse.

4. Tate Modern, London

Images: Walk Talk Tours , Jim Linwood, Bleuchoi, Andrew Dunkley and The First Word

Reaching high into London’s skyline is the Tate Modern, a magnificent old oil-fired power station, which now houses an international collection of contemporary art dating from 1900 onwards. It has become the most visited tourist attraction in London, surpassing even the National Gallery and the British Museum, and the most visited modern art museum in the world.

Designed by Sir Giles Gilbert Scott, who incidentally also designed Battersea Power Station and one of Britain’s other iconic symbols – the red telephone box, the original Bankside Power Station was built in two stages from 1947 to 1963, finally turning off the pumps in 1981. For a long time the building was under the beady eye of developers who were quick to mark it for demolition, but after impassioned pleas by campaigners to save the building were heard a competition for redevelopment ensued, and at the beginning of 1995, Swedish architects Herzog and de Meuron won the battle to build London’s next big thing.

The gallery opened to much acclaim in 2000 and has attracted more than 30 million visitors since. Its success is partly due to its situation on the banks of the Thames but also because of the use of space within the building. The main Turbine Hall, a huge space of 3,400 square metres that once housed the main electricity generators, was fortunately left in its original form, providing a vast gallery for art installations that often require public interaction and appreciation of the space. It is this space and its ability to be so successfully transformed time and time again that has changed people’s perceptions of art, which is no doubt so much more than the architects were hoping for in their redesign.

5. Water Plant, Berlin

Images: via One Eight Nine

When two artist friends, Michael Elmgreen and Ingar Dragset, decided to set up a live/work space, they didn’t bargain on getting such a good deal. For just US$700,000 the Danish/Norwegian pair purchased a disused water pumping station in suburb very close to Berlin City Centre. The building had been left empty since the early 1990s, with few interested buyers as it was located in the middle of a residential district – no longer right for industrial use, and too awkward to be tackled by some developers – so Elmgreen and Dragset jumped at the chance to work their magic on the generous space.

The artistic partners, who have exhibited around the world, enlisted the services of two young architects, Nils Wenk and Jan Wiese to help transform the pump house into an artist’s workspace and home. It was important they applied concepts from their art into the redesign, and a love of spatial challenges saw them breaking down more walls than were built.

“We deliberately made the borders between the work and living spaces fleeting,” Ingar Dragset told the New York Times. “The combination of vast floor space and the small, quirky nooks means you can be very hidden here, or very exposed depending on your moods or needs.”

Even after getting happy with a sledgehammer the old water pumping station now accommodates two separate private areas for the artists, a generous kitchen, four bathrooms, an attic living room and some of the most spectacular light-filled living and working spaces.

6. Café Restaurant Amsterdam

Images: Wili_hybrid and Cafe Restaurant Amsterdam

Housed in a former water-processing plant, Cafe Restaurant Amsterdam is one of the city’s chicest eateries. Dating back to the late 1800s, the building is left mostly intact, with the main pumps proudly on display in the main part of the restaurant. The large space is lit with huge floodlights in the evenings, reclaimed from the former Ajax and Olympic football stadiums in the city. The interior may look crude to some, but to other it offers a unique dining experience, and will always provide a talking point when there’s a lull in the conversation.

7. CasaComvert, Milan

Images: Giuliano Berarducci and studiometrico

A number of years ago, clothing design company, Comvert asked Milan-based interior architects Studiometrico to find a new HQ for their growing company that would fit a very particular brief. Comvert – a company founded by four skater friends in 1994, design, produce and distribute snowboards, clothing and accessories for both skate and snow boarders under the brand name bastard – wanted their new space to house their flagship shopfront, a design studio, office, warehouse and a useable skate bowl, all within the one building. And in spring 2005, Studiometrico came up trumps; they had found an old 1950’s cinema big enough to fulfil all Comvert’s needs.

Studiometrico retained as much character of the old building as possible; in fact, the foyer, which is now the administration centre of the building looks relatively untouched, while the dress circle has been converted to an amazing design studio and office space, providing the perfect creative working area. But it is the suspended skate bowl that makes the refit so successful. Hanging six metres about the warehouse space, the skate bowl, affectionately known as bastard bowl, fills what was once the void above the seating area in the cinema, and is the main pride and joy of the Comvert partners, who must have to pinch themselves when they go to work every morning – if only everyone was so lucky.

Source 1, 2, 3, 4, 5

For many decades entomologists studied insects in laboratories to understand everything about them. At some point over the course of the 20th Century, they reached a new level of understanding when they studied how individual species contributed towards a much larger eco system. Take ants for example. Ants not only grow and harvest their own food, they also safely handle material waste (including waste from other species), create their own medicines and disinfectants; in addition to constructing their own living environments from recycled material. They do all this, whilst maintaining soil and nurturing the eco system that they inhabit.

What If we could effectively design our own environments so that they matched the efficiency of the natural world? This arguably is the big challenge for design over the next fifty years. If we could understand architecture as separate from artistic branding or as objects alone, then I am certain that in fifty years no one will ask about iconic buildings; the focus of the future will be upon how to globally manage and distribute constrained resources. The design debate shouldn’t be as Bruce Mau states, “the world of design”, but rather, “the design of the world”.

flickr.com user GustavoG

The confluence of technological advancement as a social facilitator, combined with our advanced scientific knowledge has presented us with a unique opportunity as designers to make positive change. We live within a social, political and educational system geared towards a flawed model of scarcity; design in its current incarnation serves the economic climate. It is time we understood that the profession is much greater than what we are currently achieving as a collective. If you don’t believe me, look at your current paycheck. What if architects applied their lateral thinking beyond buildings as objects in themselves? The built environment is merely one part of a much, much larger system. A genuine and large-scale environmental agenda is not foreseen in our profession.

If we want to justify our value as lateral thinkers, then it’s not just about breaking the rules. It’s time to play a different game altogether. The Darwinist view in business is survival of the fittest. I argue otherwise: it’s about who can adapt the quickest to the rapidly changing world around us. If you want to compete in the 4x400m race of economics, good luck to you; but if you want to run the marathon (because the problems facing the world won’t be solved quickly), then keep reading.

Why synthesis will change this profession

Developed society has a glut of information; we’re now producing millions of terrabytes of information on a yearly basis. However, we are missing applied knowledge; this is where the idea of synthesis becomes useful for designers. Synthesising the ideas and groundbreaking research into architectural projects is completely feasible, it creates possibilities – and with it – innovation, that so far only few have grasped.

New Scientist, WIRED and Websites such as TED.com are not only engaging the scientific community with designers, who can string different bits of compartmentalized knowledge together in a meaningful way, but actually the idea of simply sharing ideas is endemic of a much wider societal trend; that of the economics of abundance. And abundance, according to authors from Chris Anderson and Yochai Benkler, is the new currency.

Think of the possibilities for synthesised lateral thinking: want to remediate land for a project? Why not speak to some mycologists (Mushroom scientists for the rest of us). As Paul Stamets demonstrates, applying these principles in the built environment can go a long way to get kudos with your clients and the world.

Architecture and Infrastructure

I have no idea why we’ve conceived of these areas as two separate fields. As boring as highway design may be to the masses, it has to be acknowledged that cities cannot function without vast logistical behemoth that sustains them.

As this entry into the 4th International Architectural Biennale in Rotterdam demonstrates, the urban condition must acknowledge the much larger (man made) eco system that feeds it. Produced by the Interdependence Day Project and the School of Architecture, University of Sheffield in conjunction with the New Economics Foundation and Open University.

Think about that for a minute. Did anyone ever consider that the humble electricity pylon just might be the most successful piece of industrial design of the 20th century? It’s simply constructed and is structurally efficient, carries the lifeblood of modern society; and for something that’s 25 odd metres high is invisible to the general public?

There have been some amazing architectural projects based around this premise. In 1967 Cedric Price conceived of a completely new mode of higher education, utilising and strengthening energy and transport infrastructures to revitalizing a declining industry in his home county. As far as synthesising ideas from different fields, and using infrastructure to combine these into a singular vision for education and industry; Potteries Thinkbelt still remains one of architecture’s great unrealised projects.

And we’re seeing renewed interest in infrastructure. The Obama Administration is placing a great deal of money and effort into redeveloping America’s transport and energy infrastructure’s to meet the needs of tomorrow. If there was ever a time for design graduates to get into designing infrastructures, this is probably it. The relationship between design and infrastructure is one being explored by a new wave of architectural practices. InfraNet Lab for example, regularly posts projects that considers infrastructure as architecture(s) in itself – ranging from historical examples to cutting edge graduate work.

Alastair Parvin’s SERVER considers a well used section of the UK’s M1 and realises it as a closed loop ecosystem.

Community Synergy

Perhaps we should see the way things are as a catalyst to move towards the way things could be. Again, this may seem obvious but lack of funds and the rise of social networking is the perfect excuse for designers to re-engage with community projects.

And I don’t mean community projects where something necessarily gets built. In the vein of synthesis and infrastructures, it’s time we engaged with communities in enhancing their experience of neighbourhoods in one way or another. In the UK for example, the food agenda has entered the public debate; where it comes from, who is producing it. Allotment waiting lists are now longer than they have ever been. I’d say it’s a pretty good time to be a designer if you can somehow get involved with local neighbourhood groups concerned with growing.

Grow Sheffield is one such group, created in 2007 by an environmental artist and her friends. One of their more successful projects, Abundance, has a very simple premise: pick, sort and redistribute Sheffield’s fruit from its private and public trees for free. Therefore Sheffield’s seasonal excess doesn’t get wasted and raises awareness of the food agenda.

Grow Sheffield

After being screened as a segment on Channel 4’s River Cottage, interest in the Abundance project is spiralling on a national scale. Capitalising on this, here is where two design projects could help broaden their appeal further. The first was to help the group put together an organiser’s handbook based on their experience, thus opening up the potential for Abundance projects in other cities. The second was to create a network that went beyond just picking apples from a tree.

The premise was as simple as the Abundance project: create an easy to use database of sustainable food sources for people in Sheffield. It took ten architecture students six weeks to develop the idea with further research and public consultation. The end result is a reprogrammed Google Maps interface managed by Grow Sheffield called the Sheffield Food Network.

Not architectural enough for some of you? Projects like this are essentially designing infrastructures, though online as opposed to physical. It should be noted that projects like these are exciting because they plug into something much bigger and work together to a much greater goal. They are infinitely scalable and cost relatively little to maintain. What is being achieved with projects like these is challenging the food distribution system as it operates under the economics of scarcity; and proposes a food system that operates within a system of abundance. This is nothing new; the Cubans have been doing it for years with their organoponicas gardens – a staple part of Havana’s unique urban infrastructure. However, the very idea that it is possible to reverse our dependence upon vastly complex food distribution systems paves the way for some very interesting community led projects.

The Urban Pantry is one such example of how this may work. Just like the other projects, it has a very simple premise: a food orientated community centre that engages residents within a ten minute walking distance.

Jordan J. Lloyd

Jordan J. Lloyd. Research project undertaken at the School of Architecture, University of Sheffield.

Someone like Grow Sheffield can use it as a base of operations, engaging local residents into turning leftover land into small plots and encourage small scale growing programmes, with an Urban Pantry as a storage facility/information point/community café. The success of the pantry lies in its inherent synergy. Several or hundreds of pantries work together to manage localised growing schemes.

Food is only the first step. Such thinking can be applied to waste, energy or land remediation strategies all over the world. Thinking about how several projects can contribute to something much larger without necessarily building anything can serve the public interest and utilise the best bits of your creativity.

One Step Beyond

Anyone who says that architects should just produce buildings is remarkably short sighted. It never stopped Da Vinci from designing fortresses for the Sforza’s. He understood that applying his creative genius to all manner of problems in science and the arts would further human understanding on a global scale; therefore shouldn’t we do the same?

—

Jordan J. Lloyd is a recently graduated masters student in architecture, rocks out to Motorhead in the shower and is in the process of turning something he says into something he does. Go see him in 20 years if you think he’s wrong!

Recommended reading:

Subscriptions to:

1. WIRED Magazine
2. Seed Magazine
3. New Scientist Magazine
4. Volume Magazine

‘Completely relevant but not necessarily architectural reading list’.

1. World Changing: A User’s Guide for the 21st Century – Alex Steffen and Al Gore
2. Massive Change – Bruce Mau, Jennifer Leonard, Institute Without Boundaries
3. RE:CP – Cedric Price, Hans-Ulrich Obrist, Patrick Keiller
4. Cradle to Cradle: Remaking the Way We Make Things – William McDonough and Michael Braungart
5. The 4-Hour Workweek: Escape 9-5, Live Anywhere, and Join the New Rich – Timothy Ferriss
6. Nudge: Improving Decisions About Health, Wealth, and Happiness – Richard H. Thaler and Cass R. Sunstein

Interview’s Andrew Maynard

1. Which of your projects has been the most rewarding and why?

AM: The stand outs for me have to be CV08 and the Styx Valley protest shelter. Both unbuilt concepts, but both have a broad social and ethical agenda that simply does not translate to my built work with the same intensity.

Left: CV08 – The Suburb Eating Robot, Right: Styx Valley protest shelter

2. Your recent project, Vader House, recently won the 2009 Vision Award. What aspects of project do you think contributed to winning the award?

AM: I lose all objectivity about a project by the time it is complete. I can’t place it or measure it when its finished. I have received a lot of great feedback about Vader house, which is always very important for your self confidence as a designer. Vader was one of the first projects I designed over 6 years ago [when I was 28], however it was shelved for a long time while the client got their finances in order. I am a very different designer now and I am quite sure that I would tackle the project differently if I were to do it again. To me Vader often feels like it has a different author.

Vader House

3. How do you think architecture will change in the next 50 years?

AM: Augmented realities are going to change architecture radically. I believe that we will soon describe architecture as pre augmented realities and post augmented realities. A few of videos worth checking out are :  http://bit.ly/4s2kxH and  http://bit.ly/aToJf and  http://bit.ly/HGbDs . I think that the implications for architecture are very exciting. The idea of user driven content in architecture is also a wonderful way of democratising our profession. The blurring of boundaries between the real and the virtual is already happening and it may prove to be another missed opportunity for architects to lead in the creative implementation of this technology and ideas. There is a real threat that our constructed environment will start to be designed by companies like Apple rather than our profession.

4. What changes would you like to see in the Architectural profession?

AM: A new basis for fees would be fantastic. Linking fees to budgets creates distrust in clients and also discourages architects from arguing for a reduced scope of works. One of the most powerful ESD weapons an architect has is to convince a client not to change parts of their buildings, to simply accept what they have. Knocking down and starting again can give an architect great freedom and increases their fees however there is a broader ethical, environmental and professional obligation that is missed by assuming that this is always the best course of action for a client and a site.

5. Do you think that Architecture tends to be trendy today?

AM: Architecture is definitely very present in the popular media at the moment. However I do not think that this is a trend. This attention will concrete architecture into the public consciousness and I hope will create broader links between popular culture and architecture. This is something that we are very interested in at AMA. Resisting, or denying a link with high culture and instead making architecture not only accessible by the mainstream but furthermore making it culturally entrenched with the mainstream is part of our goal.

6. What would students learn from reviewing the body of architectural projects you have completed? Do you have any advice for upcoming students?

AM: AMA is still in its infancy and as such I am not convinced that there is anything to learn from our built work. However I think that AMA as a practice is a very interesting vehicle for students to learn from and research. Peter Eisenman once said that you must be very deliberate and strategic when you start an architectural practice. He says that if you do not start your firm with a deliberate direction and agenda then your clients and other external factors will set the course for you and this is a very difficult position to steer away from or reorient.

I was very strategic in the way that AMA was set up; 1.Concepts were more important than built projects 2.Engage with the broader architectural discourse 3.Engage with new media 4.Survival is a priority, profit is not. This simple set of rules has created a practice that has some plasticity to it and importantly, because there are few financial pressures I am free of the stresses of the month to month billing grind. I think that this is important for students to see. You don’t need to fit into standard practice models. There are choices and you can invent your future without becoming a slave to the ubiquitous corporate model of architectural practice.

7. What are you most proud of in your career or any aspect of life?

AM: I am most proud of the Styx Valley Protest Shelter. The Wilderness Society is doing an amazing job to defend Tasmania’s old growth forests from logging. Styx was my small effort to help draw attention to the work of the Wilderness Society. The project received [and still receives] a amazing amount of press which drew international attention to the Styx Valley. I have always been amazed by how effective Styx was and furthermore it is evidence that “paper architecture” can be effective, not simply on an academic level, but also on a broader social stage. It is also evidence that architectural practice does not need to be based on a purely capitalist model of operation. It can be a hybrid of your choosing.

8. Who do you think is the most overrated architect, and who do you think deserves more credit/recognition?

AM: After the last interview I did, for a UK mag, I honestly believe that I am the most over rated. The journalist attempted to describe people like Shigeru Ban and even Renzo Piano as my contemporaries which of course is completely ridiculous. I seem to attract hype. At the moment I mainly design small houses and when you compare my work to the amount of media attention I have received it is verging on the offensive. I’m not complaining of course and I am not resistant to the attention as it does lead to more work, however I increasingly feel that there is an unrealistic expectation on my small firm. I believe that AMA has the potential to contribute some important ideas to architecture and the broader community at some stage in the future, however building up an expectation is not helpful.

The most underrated architect would have to be Jo Noero. Not only does he selflessly contribute to academia and social programs, his architecture is a stunning example of how architects can positively effect the lives of those in need. Students need to spend less time studying Star-chitects and more time studying the work of architects like Noero.

9. What aspect of Architecture do you find most important? What is fundamental to your practice and your design process?

AM: To answer this I offer a quote:

Thom Mayne of Morphosis on teaching architecture, and a bit more: “The key thing is that architecture is a discipline where it’s impossible to escape values. It’s radically value-laden. I think it’s possible that you can become a designer – an architect – and see it as somewhat autonomous and not as a political act, which is just totally incredibly naive. I try to make [students] aware of the radical, political, cultural, social nature of our work and how it’s impossible to escape those responsibilities.”

10. What inspired you to become involved in Architecture? What inspires you now?

AM: I don’t remember why I wanted to be an architect, however I made the choice at a very early age and never even considered anything else.

11. What other interests do you have?

AM: Computer games [esp first person shooters], comics, books. I love the fact that vast numbers of japanese architecture students end up in the computer games industry. My favourite movie is Brazil, by Terry Gilliam. My favourite TV show is Good Game. Best album ever is Going Blank Again by Ride. Favourite authors are Author C Clarke, Azimov, Douglas Adams and Philip K Dick [to name a few]. At the moment I am reading Mother Tongue By Bill Bryson [I loved his book A Short History of Nearly Everything]. I love reading anything from Black Inc Publishing and there website Slow TV is amazing. My favourite place in the world is on top of Mount Oakleigh [facing west].

12. What is your favourite time of the day, and why?

AM: 6pm ….. because the Simpsons is on. And yes, I am home before 6pm each day. Working late is for suckers.

13. What would be your ultimate design project?

AM: As I have said in the past to Gina Morris of THE AGE, all architects want to build museums and libraries and I am no different.  However, I’m pretty keen to build the Millennium Falcon.  And I don’t mean a replica, I mean the real thing with warp speed and a wookie.

14. What are you doing at the moment?

AM: After spending the last 2 years concentrating on getting some structures built, I am currently refocusing back on comps, concepts and products.

15. Who would you most like to work with on a project?

AM: I have always fantasised about doing a house for Matthew Barney and Bjork.

Left: Cog House, Right: Corb v2.0

Left: Essex St House, Right: Tattoo House

Urban Orchard

I’d like to thank Andrew for participating in the interview. If you’re interesting in getting in touch or finding out more about his projects, use the following:

• www.maynardarchitects.com
• [email protected]
• http://twitter.com/AndrewMaynard

If you are interested in being interviewed and featured on Archi-Ninja, please contact me.