I want a colossal donut just like the one on the sign. D-ohh! Nuts. That’s false advertising.
Homer Simpson, Treehouse of Horror (The Simpsons Season 7, Episode 6)
A doughnut shop famed for fresh, artisanal ingredients is meticulously crafted like the doughnuts themselves. A central island display and the surrounding solid, oak-clad walls have been dipped into a mixture of smooth, hand-poured terrazzo. Its soft curves are echoed throughout the ceiling geometry.
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Financial Firm

Can we ever have too much of a good thing?
Miguel de Cervantes
Tired of their old dark and compartmentalized office space, this financial firm was ready for a new open environment filled with light; a space that promotes collaboration and communication, with a focus on workplace wellness. Fully glazed office fronts, non-partitioned work stations with flexible meeting areas, and large break rooms, all foster teamwork. The light material palette of bleached oak, white and neutrals is residential in feel, and just like at home, everyone ends up gathering in the kitchen.
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A response to cosmetic design. Completion through removal. Completion through collapse. Completion through emptiness.
Gordon Matta-Clark
Inspired by the ideas of the Anarchitecture Group and Gordon Matta-Clark, the house consists of two buildings standing on a hillside, in opposition and balance, conceding to the site in form and scale. The spatial schism between them is the core of the domestic environment, making space without building it. One structure houses the bedrooms, the other the public spaces, the arrangement intentionally challenging conventions about privacy and publicity, of inside and out, while bringing awareness to the environment as you move through the house. The building facing the street is wrapped with a light filtering screen, ethereal and bright, while the rear building, carved out from the rocky terrain, is made from cast in place concrete.
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Whoever you are, go out into the evening, leaving your room, of which you know every bit; your house is the last before the infinite, whoever you are.
Rainer Maria Rilke
A weekend retreat for an artist and his family sits on a forested acre of land near Sag Harbor. Not unlike historic homes and barns of the area that grew overtime, the project is a formal aggregation of three house-shaped volumes, each dedicated to a separate function of the program: public life, private life, and art studio. The wood shingle façade responds to the vernacular building language, however slight variations in the roof geometry provide a more evolved expression. While the natural landscape is left largely untouched to allow its appreciation, a courtyard provides a tamed outdoor experience.
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Artist-in-Residence Hotel Competition

Work stops at sunset. Darkness falls over the building site. The sky is filled with star. “There is the blueprint”, they say.
Italo Calvino, Invisible Cities
As far back as Piranesi’s depictions of Rome’s remains, artists and writers have found creative inspiration in abandoned sites and crumbling buildings. Urban and architectural ruins are a testimony of the passage of time, providing a canvas for imaging the site’s history while igniting the imagination with the promise of its future. The missing parts or voids become loaded with meaning as they hold the key to the site’s interpretation, a narrative unique to each observer. The architecture for this intervention takes clues from both the language of the site’s lighthouse remains, and from the architectural vernacular and materials of the area. The building form is laid out in a long sequential path, creating a communal space with the ruins at its center and bound naturally by the coastline. Actual voids in the slab and the roof and screened facades allow the landscapes to permeate the structures in all directions. The material cladding the building is a roman flat pan clay tile, used as a whole on the solid facades, and modified with diagonal cuts to create screens on the translucent facades.
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In the midst of winter, I found there was, within me, an invincible summer. And that makes me happy. For it says that no matter how hard the world pushes against me, within me, there’s something stronger – something better, pushing right back
Albert Camus
The design for this house imagines occupying the entire site, all of it considered living space, with rooms formed as much by the landscape as by the architecture. To that end, the house is designed as a linear sequence, multipurpose spaces unfolding with a feeling of progression. A cast in place, wood-formed concrete wall grounds every room on the south side, its permanence also challenged by the ever-changing light cast upon it by an oversized skylight. Other vertical planes are a combination of glass and ipe wood rainscreen, made of louvers that open like ripples in a curtain to control natural light. The 5,600 square feet house is Platinum certified by the U.S. Green Building Council.
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Day turns to night eventually but it's a matter of light and darkness, it's not time passing, mortal time. There's none of the usual terror. It's different here, time is enormous, that's what I feel here, palpably. Time that precedes us and survives us.
Don DeLillo, Point Omega
Corrugated metal panels reflect the ever-changing desert sky. A simple, crafted interior palette of plywood and concrete gives way for triangular geometries which guide the layout of the home, each space with a unique character. Visitors take advantage of the desert site with large openings connecting them to the rugged landscape. Framed views are carefully located in all directions, angled such that light enters at unexpected angles, changing with the day and the seasons.
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A new mixed used commercial building occupies the former site of famed General Lee’s banquet room in Chinatown, and houses an art gallery on the first two floors and a residential unit on the top floor. The small urban lot generated a design strategy of subtraction, taking away from the infill volume to create a connection to the site and paths for natural light. Treading a fine line between tradition and modernity on a historic private street, the building’s stoic façade keeps to itself, opening generously only on the ground floor art gallery. Other openings are calculated to balance privacy and views, and are deeply set back to reinforce their removal from a solid mass.
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A place belongs forever to whoever claims it hardest, remembers it most obsessively, wrenches it from itself, shapes it, renders it, loves it so radically that he remakes it in his image.
Joan Didion, The White Album
Located on an upslope site in Silver Lake, the house cascades down the hill making contact with its natural grade to create meaningful outdoor spaces with the least amount of excavation. Inspired by Schindler’s theories of space architecture, and the writings on the subject by Esther McCoy, we are allowing the character of the land, with “its moods and dignity”, dictate the house. Our own way of life and its daily rituals complete the narrative. Two materials comprise the expression of the house: poured in place concrete, a necessity dictated by the structural demands of the site, balanced by the warmth of weathered douglas fir.
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The space we love is unwilling to remain permanently enclosed. It deploys and appears to move elsewhere without difficulty; into other times, and on different planes of dream and memory.
Gaston Bachelard, The Poetics of Space
We are Fleetwood Fernandez, a Los Angeles based architecture firm and creative studio. Around a really large desk and often an even larger lunch, we design understated buildings, interiors and furniture. Our projects weave the natural environment into the built, and examine the ways in which architecture alters not only our memory, but our actions. Accordingly, we see architecture as a platform for examining the narrative that is unique to each project, a dialog by which each client can create their own way of living. With an economy of form and line, we design projects from the inside out, focusing on daily rituals of use to drive the design process from detail to building form.
The studio, founded in 2007 by partners Hunter Fleetwood and Mariapaz Fernandez, has completed residential, hospitality, and institutional projects throughout the United States. Recent work includes the headquarters for a private hedge fund in Los Angeles, multiple restaurants, and single-family residences in Los Angeles, New York, and Haiti. Our work has been recognized with many publications and awards, including several AIA Los Angeles Restaurant Design Awards, 2019 Interior Design Best of Year honoree, Architect Magazine 2014 National Design Review Winner, and 2010 AIA Los Angeles Next LA Award. Both partners are licensed architects in California, and Hunter also holds a license in New York.
1301 N. Catalina St. #3 Los Angeles, CA 90027
© Fleetwood Fernandez Architects 2023, Los Angeles, CA
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