Time flows on without any stop. "The old order changeth, yielding place to new."The great cities like Mohenjo-Daro, Indraprastha, Babylon, and the great architectural building like the Pentagon (the world's largest office building by floor area), World Trade Centre (the twin 110-story towers), are all gone, and
new cities and architecture are growing up in their stead. With the passing of time, the concept and patterns of architectural industry is rapidly changing.

Every era has its own style and ideology which are reflected onto the architecture developed and designed in that era. When the world moved into the 21st century, architecture industry reached new heights. With dramatic  innovations in engineering and technology, the modern era is witnessing growing
numbers of skyscrapers and wonderful architectures around the world. Architectural Evangelist discovers seven iconic modern architectures which beguile tourists around the world.

Drivers of the Change:
During the Middle Ages, architects and engineers realized the possibility of constructing building with dazzling height. But, poor technology could not transform their imaginative ideas into reality. The continuous advancements in technology and software in modern era are transferring their long-desired visions into reality. Dramatic improvements in window systems and photovoltaic system have made architects and designers to build "Net Zero Energy" buildings with spectacular heights. 3D-4D Building Information Modeling has brought a paradigm shift in the AEC industry. It helps not only to design a home building, but provides an end-to-end construction process, addressing the constructability, coordinating the process, and identifying clashes much before the actual construction begins.

The drivers of changes are the followings:

(1) Economic Development
(2) Advancement in Technology and Engineering
(3) Connotation of Pride and Achievement
(4) Stiff Competition
(5) The Skyscraper Race
(6) Sign of Power
(7) Creativity of Modern Architects

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Anyone with a pile of money can build a big pile of a house, and back in the day, that’s what you did. (See, for instance, “Downton Abbey.”) But during the 20th century, a group of architects staged a controversial revolt. Why, they asked, couldn’t less be as impressive as more?

Across North America, sensational — but often reasonably-sized and usually deceptively simple — homes stand as their legacy. Here are 10 of the best. All of them are open to the public, but make advance reservations.

1. Farnsworth House, Plano, Ill.

Architect Mies van der Rohe is known for putting his unique stamp on gargantuan urban renewal projects in cities like Detroit and New York, but this 1,500-square-foot jewel box nearly two hours west of Chicago’s Loop, built for a friend, is perhaps one of the most Miesian structures Mies ever built, reducing the idea of architecture to, in his words, “almost nothing.” Homeowner Dr. Edith Farnsworth was inclined to agree, so angered by the extreme minimalism of the house that she ended up suing her friend. She lost, retired to Italy and the two never spoke to each other again (farnsworthhouse.org).

2. Fallingwater, Mill Run, Penn.

Frank Lloyd-Wright is easily one of the most famous American architects of all time; this remarkable home in the Laurel Highlands, built for Pittsburgh retail magnate Edgar J. Kaufmann, is one of his most well-known works, notable as much for its timeless, earthy interiors as the iconic, tiered exterior. The risky design — who ever heard of building a house over a waterfall, really? — proved a headache for its caretakers from the very beginning; after a lengthy closure for restoration, it’s back and looking better than ever (fallingwater.org).

3. Phillip Johnson Glass, House New Canaan, Conn.

You’d expect a man like Phillip Johnson, one-time associate of Mies van der Rohe and later an architectural legend in his own right, to live in a pretty amazing house. And he did, in a section of Connecticut’s fancy-pants Fairfield County, not far from New York City. Built in the 1940s and opened to the public in 2007 following the death of David Whitney, Johnson’s partner of many years, the Glass House is but one piece of architectural art standing on the 47-acre estate, which also includes art galleries, outdoor sculptures, buildings that look like sculptures and more..

4. Eames House, Los Angeles

The Pacific Palisades section of Los Angeles has no shortage of envy-inducing estates, but this one — designed by furniture guru Charles Eames as a pre-fab out of industrial materials for a project sponsored by Arts & Architecture magazine — stands out for its simplicity and restraint. Completed in 1949, Eames and wife Ray liked the simple, sunlit house so much that they ended up staying there until their deaths, decades later. The home’s location on a cliff overlooking the Pacific could have had a little something to do with its staying power (eamesfoundation.org). (And while in L.A., don’t miss Case Study House 22, designed by Pierre Koenig.

5. Miller House, Columbus, Ind.

Before he went on to design the iconic TWA Terminal at New York’s John F. Kennedy Airport, or St. Louis’ world-famous Gateway Arch, Eero Saarinen was commissioned by industrialist J. Irwin Miller to design that’s been called the most significant midcentury modern home ever built. True or not, the house is pretty darn cool — and pretty darn large, nearly 7,000 square feet of glass and steel, its presence enhanced by the equally impressive surrounding gardens. After being donated to the Indianapolis Museum of Art and undergoing a $2 million dollar renovation, it’s now open for a visit.

6. Luis Barragan House, Mexico City

Mexico has no shortage of intriguing architecture, and one of its modern godfathers is Luis Barragan, who worked in the mid-20th century to translate the new style exploding around the western world to best suit the Mexican environment, so heavily influenced by Spanish colonial tradition. One of the best examples of the resulting product is the architect’s colorful and striking home, in the Mexico City suburb of Tacubaya, now a UNESCO World Heritage Site and open to the public for tours.

7. Neutra VDL House, Los Angeles

The man that Time magazine in 1949 called second only to Frank Lloyd Wright may not have quite the name recognition today, but any West Coast architecture lover will be more than acquainted with the striking work of Richard Neutra, a midcentury-Mod icon who built — and subsequently lived and worked in — this open-to-the-light compound in the Silver Lake section of Los Angeles.

8. Gropius House, Lincoln, Mass.

Squeezed out of Germany by the Nazis and lured to the United States by Harvard University, Bauhaus school founder Walter Gropius built this home for his family on a quiet road near Boston back in 1938. It may not appear like much today, but in its time, the use of glass block, chrome and other modern materials was considered revolutionary, particularly when you consider the location of the home, between the ye olde villages of Lexington and Concord. The dream-bigness of Gropius’ long-time inspiration Frank Lloyd-Wright is present here, but so is the Bauhaus’ classically German common sense, too — a rather happy hybrid.

9. Taliesin West, Scottsdale, Ariz.

While Frank Lloyd Wright’s striking Spring Green, Wis. HQ, Taliesin, certainly has its charms, they are significantly harder to nail down during a chilly Midwest winter. Beginning in the early 1930s, Wright and his crew began spending time out in Arizona during the colder months; in 1937 Wright purchased a pristine plot not far from Phoenix and embarked upon a mission to build a campus that would harmonize with the beauty of the surrounding Sonoran Desert. Night time tours, which allow participants to view the home from outside, lit up and almost sculpture-like, are a must.

10. Sunnylands, Rancho Mirage, Calif.

There’s nothing modest about this sprawling estate home built in the 1960s by Los Angeles architect A. Quincy Jones on a 200-acre spread just up the road from Palm Springs. With 11 lakes, a 9-hole golf course and a ton of other amenities, Sunnylands is more like a private resort than just another winter house. Then again, its owner, Walter Annenberg, was hardly just another snowbird. Born into a publishing family, Annenberg went on to create TV Guide and Seventeen magazine, was at one time the U.S. ambassador to the United Kingdom and, later in life, dedicated himself exclusively to philanthropic pursuits. Referred to as the Camp David of the West, Sunnylands has hosted seven U.S. presidents, Britain’s royal family, Frank Sinatra and many more big names

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The basics: Mid-century modern architecture in the United States is a direct descendant of the unadorned-modernist minimalism adapted from the German Bauhaus design tradition of the 1920s and early 1930s. It's no surprise, then, that immigrant architects Oscar and Hans Gerson Sr. chose upon their arrival in America to land in the Bay Area, where the updated style was flourishing.

Of course, the concept of indoor-outdoor living made even more sense in Berkeley than in their native Hamburg. So, inspired by the open floor plans and walls of glass that imbued daily living with a true connection to nature, they took their reputation for highly creative and innovative Bauhaus-style buildings into the new realm, landing commissions for both commercial and residential construction.

While Hans joined noted architect Harry Overstreet and built a firm specializing in mostly larger residential and commercial projects, Oscar's practice was developed working mainly with private clients designing custom homes. The Rosenfeld residence in Berkeley is a classic and beautifully maintained example of his work that truly exemplifies the mid-century movement in 1950s San Francisco.

Designed around a private central courtyard and oriented toward San Francisco Bay, the home provides views through floor-to-ceiling windows in the open and flowing living areas, adding to the transparency and scale of the house. Meanwhile, changes in ceiling height define various functions and moods, with open, tall ceilings in public spaces and lower ceilings in private spaces for a more intimate feel.

Using building materials and finishes readily available during construction of the 1950 home, Oscar Gerson Sr. incorporated stacked flagstone to build the rustic fireplace and clad the house in redwood paneling, which was also used to sheath the interior of the large sauna that is part of the master suite. Unique built-ins were imported from Germany to provide strategic and stylish storage throughout the home.

Subtle earthen hues blanket the interior walls, accented simply by trim and molding in bright white, leaving the shape and form of the structure's design to shine through as the star of the show.

Large windows wrap the corners of the bedrooms, which also have glass doors leading out to garden and courtyard areas. There, inviting flagstone paths and terraces beckon residents outdoors for shaded relaxation and entertainment.

Off one such space, an abbreviated covered breezeway tethers the detached studio and one-car garage to the main house. Out front, a charming garden of edibles overflows with produce, including blueberries, citrus, apricots and multiple apple varieties.

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White stopped being the official color of architecture a while ago. According to a study conducted by researchers at the Polytechnic University of Valencia (UPV, Spain), new buildings have now been transformed and fragmented and they display movement and innovation thanks to the versatility of color.
Modern architecture has wrongly been identified with the exclusive use of the color white but it is not like this: it is just a myth," says SINC Juan Serra, lecturer at the UPV's Institute for Heritage Restoration.

"In recent decades, color has been reintroduced into architectural design and has turned out to be a useful tool in expressing versatility, which signifies change, lack of permanence and ability to adapt to new requirements."

Color transforms buildings in the sense that they change their appearance and allow that they are perceived differently. When moving elements are placed on the front of buildings for example, the angle and intensity of light vary. This occurs with Jean Nouvel's Agbar Tower in Barcelona. The use of aluminum plates and glass slats alters the buildings chromatic balance depending on the time of day or year. In addition, at night-time, LED technology generates light images over the entire facade using a sophisticated hardware and software system.

The debate has moved on to commercial architecture. "It seems that there is a tendency towards the use of white and grey on the front of houses, for example. The public perceives these colors as more glamorous whereas years ago differently colored houses were in demand as they were linked to the historicistic fantasy in the collective imagination," claims Serra, who also destroys the myth that white is related to Mediterranean buildings: "Most of the time this comes from the whitewash that was applied mainly for hygiene reasons."

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IN his book ‘Icupo Nobuyantashi’ (Marriage and development) the late Mr Simon Mwansa Kapwepwe argues that a family is the foundation of a nation, especially one that has many broken or unstable families and may face challenges in national building.

In one of the articles under this column, it was shown that child rearing is much more challenging for families living in highrise flats than those living in single-storey houses. It was also shown under the same article how studies have revealed that there is less commission of crime in shanty compounds where residents have formed communities than others even though economic and education status are similar.

In short a house or indeed a home is the basis for social interaction and economic advancement, the environment and neighbourhood within which people live. Although Zambia, like most African countries, went through many years of colonisation and the consequent distortion of cultures and traditions through the process of urbanisation there is still some things to be learnt from the village concept that may still be relevant in the design of residential buildings in an urban setting.

Most architects who are new to tropical design problems are usually tempted and are often encouraged by some clients to reproduce western architectural housing solutions. Such clients perceive western architectural forms as status symbols despite the fact that such forms are sometimes climatically, socially and culturally unsuitable as solutions to the basic needs of the Zambian people.

This is compounded by the fact that among the various building types housing has recorded the most incidents of non-structural failures than any other building type. There have been cases in western countries where newly completed blocks of flats had to be demolished purely because no family wanted to be accommodated in such blocks of flats. Sometimes families do accept such accommodation due to lack of alternative accommodation but the effect on family rearing has created many challenges.

The reason for turning to the initial traditional architecture for design inspiration is due to the recognition that in spite of the shortcomings, traditional physical structures did satisfy the psychological needs of communities better than the imported western house forms.

A number of publications on African traditional architecture have concerned themselves mainly with the study of the forms, construction materials and building techniques. Such studies have been centered on the concept of a house as a physical shelter emphasising mainly the structural qualities of a dwelling, the type of services provided (water, sanitation etc) and space availability to occupants.

Little, if any, attempt is made to analyse the functional spaces and their inter-relationships taking place in and around the described structures and also assess the level of psychological satisfaction offered by such structures in response to social-cultural needs. A house is much more than a physical shelter, a house or more appropriately a home and the neighbourhood affects the lives and influences the activities of its inhabitants to a considerable extent.

A house can be described in terms of a wide range of attributes both physical and non-material which serve numerous functions and thereby satisfy the different needs of a house occupier.

A study by John Turner and Tomaz Sudra conducted on moderate and low-income households in Mexico City concluded that “some of the poorest dwellings, materially speaking, were clearly the best, socially speaking, and some, but not all, of the highest standard dwellings were the most socially oppressive”

The village layout was based on sound practical, economic, social and cultural considerations with the initial choice of sites being related to the type of subsistence economy relied upon by the inhabitants.

The layouts of units were clustered organisations using proximity to relate its spaces to one another, often consisted of repetitive, cellular spaces that may have similar functions sharing a common trait such as shape or orientation.

Each cluster subset comprised physical structures meant to serve an extended family unit.
The whole village was indeed a community broken down to smaller family units or sub-communities.

A cluster of physical structures with the immediate surrounding open spaces meant to accommodate a family is what may be equivalent to a modern house comprising bedrooms, kitchen, toilets, store rooms and so on.

It is important to understand this distinction because most publications tend to mistakenly describe a hut as equivalent to a house. This kind of cluster arrangement was of course possible because of the availability of vast lands in rural areas. In summary, there weremainly three types of spaces which served the needs of family units in a village context.

The first space zone was the most intimate and private space which was fully enclosed by the defining planes and was fully protected from the environmental elements.

This space zone used to accommodate such activities as sleeping, sanitary services and so on. The second space zone had less rigid degree of enclosure it was usually partially enclosed especially with the overhead plane and open or partially open in the vertical planes.It could be the space immediately surrounding the first space zone described above and was called “ulukolo” or what may now be called “a verandah”.

It was colonised but had no visual privacy but partially protected from the elements. It was used for such chores as grinding millet or storage of fire wood.

Another category of space falling under the second space zone is what was called “Insaka” or men’s sitting room. It was also semi private and was partially protected from the elements. The third space zone was the open common use space surrounding the family units and defined by the family physical structures.

The feeling of enclosure was not total as the spaces were open above and leaked to the neighbouring spaces in between the physical structures. These were the play areas for children and also used for practising of hobbies and was used as part of circulation space.

The above spaces effectively responded not only to the social and cultural needs of society but also to the conditions of Zambia where most of the activities took place in outdoor spaces thereby encouraging effective interaction between the inhabitants.

In the village context visual and acoustic privacy between sleeping quarters or units was achieved by distance, structural separation as well as degree of structural enclosure.

Provision of accommodation for family members was based on separate allocation of sleeping quarters for parents, female children and male children who were each accommodated in different huts or “bedrooms”. Privacy in the use of sanitary facilities was also achieved by distance, structural enclosure as well as orientation. It is important to understand that designing a house or indeed a home takes into account many factors which are normally not taken into account when designing, say, an office block or a factory.

With the advent of colonisation, urbanisation and the psychological impact of the imported house form coupled with an architectural education which is mainly western biased, the challenge faced by an architect designing residential accommodation in Zambia may be very daunting.

A systematic synthesis of the village concept meant to extract salient and subtle ingredients may form a significant platform for defining an appropriate and home-grown architectural approach to finding solutions that would address and fulfill local housing needs. Designing successful architectural residential solutions has been a challenge even in developed countries which in fact have more resources available. Any other approach is a recipe for psychological torture of the occupiers of the house.

While the imported house form which is essentially a box derived primarily from platonic solids and primary shapes with openings punched out to create windows and access doors may be appropriate for the cold climate there is need to modify this solution in order to arrive at an answer that is more appropriate to the Zambian context.

As stated above the Zambian climate allows for a lot of activities to take place outdoors and therefore the architect may need to look for a solution that include a combination of space zones discussed above under Spaces in the limited available land in urban areas including allowance for landscaping and gardening which may not only help reduce ground temperatures but also provide land for activities leading to self sufficiency.

The most pronounced architectural design element in the physical structures found in a village setting is the conical roof on a circular floor plan which offers protection from the elements to all wall surfaces.
In Zambia the highest solar thermal loading during the hot season on a building is introduced through the overhead plane or the roof followed by the vertical planes or walls facing East and West, the wall facing North receives the least while walls facing South do not receive any direct solar thermal  loading.

In Zambia the main challenge generally is to keep the indoor temperature low while the reverse may be true in countries with cold climates.

Although the roof receives the most in terms of storm rain water the driving direction of the rain will impact on the walls to receive storm rain water and therefore the protection offered by a well designed roof may be important and the conical roof did just that.

Appropriate housing solutions specific to the Zambian situation will create an enabling environment for the proper upbringing of families after all. As stated by Mr Kapwepwe, stable families will form a solid foundation for a stable nation leading to  economic growth of the nation.

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Here is the Architectural works of the The exotic “Hilltop” country house in Melbourne, Australia. This is the classical and natural Wooden house with the farm and vineyards of the Yarra Valley affords views as far as the eye can see taking in Port Phillip and Westernport Bays, Melbourne’s skyline. Beautiful house with timber inspiring you feel in the cowboy style house design. Very nice and comfortable for family house. House design set within 57 acres of pristine wilderness dominated by towering Mountain Ash and fern gullies. Let’s look around for the country house interior design such as the both of living room design with different style, the kitchen with classic wooden cabinetary, the staircase, wall, floor and also the ceiling that is totally using an Natural Wood materials.

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You’ve probably driven by the Ala Wai Plaza dozens of times. Its curved glass circulation tower stands out as you drive toward Diamond Head on Kapiolani Boulevard at the corner of University Avenue. While the building may not have the flash of the newer condos built in the 2000s, this 25-story condominium, built in 1970, is a well maintained example of the modern architecture boom of the time.

This three-bedroom, two-and-a-half bath condo just came back onto the market last week after being in contract. (Click here for details.) The 1,432-square-foot unit features a living/dining area with hardwood floors, a lanai off the living room, plus a half bath for guests downstairs. The staircase is an open design allowing for an airy feel. The cross ventilation in the 20th floor unit makes great use of the trade winds, so you can leave your air conditioner off most days.

The owners, who are moving to California, renovated the kitchen and baths about five years ago. Granite countertops were installed in the kitchen, along with a double vanity in the master bath. Upstairs houses the three bedrooms and two of the baths. The master bedroom, with plantation shutters for privacy, spans the space of the unit overlooking Ala Wai Park and the canal. The other bedrooms are on the mauka side. The building’s amenities include a pool, exercise room, barbecue area and meeting room.

There’s good news for those with a green thumb who long for a garden. One of the city’s 10 community gardens is practically in your backyard. The Ala Wai Community Garden, which has 157 plots, is at the end of University Avenue, next to the elementary school.

Also, if you’ve got a penchant for paddling, the Waikiki Surf Club practices just makai of the building on the canal. The fuzz factor: Two pets are allowed, each with a 20-pound weight limit. Two covered parking stalls come with the unit. Alas, there is no guest parking and street parking is tight here. However, its convenient location is super close to TheBus.

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The Texaco gas station at Mary Brown's Corner in Kingston is undergoing an estimated J$40 million ultra-modern facelift geared at luring customers from rival stations.

It's a one-off concept which got approval by Chevron Jamaica - operator of the Texaco brand — but Chevron International has expressed an interest in possibly using the design internationally, said the project architect, Euhon Darling of Plexus Limited.

"I was told to design something that would rock the world, shake up the city, and the client liked it," said Darling, adding that neither Chevron nor the engineers Peter Jarvis and Associates made adjustments to the design. The contractor is Noel Scott. The gas station, which is known as Richie B's Texaco, began reconstruction last month.

Plexus has since received requests from rival Total Jamaica to design two of its gas stations. "The modern designs could be duplicated. There is a very high possibility that that could emerge," said Darling, who is also one of the local designers of the upgraded Norman Manley International Airport. "There are two Totals that we are now working on, one in Mandeville and the other in Discovery Bay," he told Sunday Business.

worldwide trend
Darling said that Jamaicans are warming up to modern architecture as it appeals to an international sensibility. "Jamaicans love it. It's the international modern flair and it's a worldwide trend," he said.

Other modern looking structures include the muscular steel of Norman Manley International Airport and Half-Way Tree Transport Centre, the minimalist interior of Spanish Court Hotel and GeeJam Studio and the Digicel head office in downtown Kingston.

Haiti-based GB Group acquired Chevron Corporation's assets in Jamaica and two other Caribbean countries for an undisclosed sum last November.

The deal sees century-old GB Group acquiring the distribution and sales of petroleum products in Jamaica, the Dominican Republic and St Maarten from Chevron Caribbean, which owns the Texaco brand.

"The company also completed the sale of certain other fuel-marketing and aviation businesses in the Caribbean and South America in the third quarter 2011," stated Chevron chairman and CEO John Watson in its just-released financials.

Texaco has a network of 62 gas stations, according to 2011 telephone listings. Most of the locally branded Texaco stations are owned by entrepreneurs. Efforts at comment from Chevron Jamaica on whether the new owners plan to transform the entire national network of Texaco stations were unsuccessful.

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“Delhi Modern: The Architectural Photographs of Madan Mahatta”, curated by Ram Rahman, is the latest exhibition at Photoink, a gallery exclusively meant for photography exhibitions in the Capital. This one is as much a revelation of an unrecognised talent as it is a lament reminding the viewers about the glorious period in the Indian architecture.

Ram Rahman, son of architect Habib Rahman and a photographer himself, has brought together a splendid collection of photographs that capture the making of modern India. The Nehruvian era was filled with hope and promise of a new India and the buildings of this time came to symbolise it.

Madan Mahatta studied photography in England in the early 1950s and joined the family-run Mahatta Studios on returning to India in 1954. He introduced negative-positive colour printing in India. Though he worked in other genres as well — dance, portraiture, theatre — his architectural pictures were his best work, according to Ram. “Being an architectural photographer myself, I saw how good this work was,” says Ram.

Working closely with two generations of India's best known modern architects like Achyut Kanvinde, Ajoy Choudhury, Charles Correa, Habib Rahman, Jasbir Sawhney, J.K. Chowdhury, Joseph Allen Stein, Kuldip Singh, Raj Rewal, Ram Sharma, Ranjit Sabhiki and designers Mini Boga and Riten Mozumdar, Mahatta recorded Delhi right during the Nehruvian modernism.

The exhibition displays his images of landmark structures like Sapru House, India International Centre, British Council, LIC, NDMC, Syrian Orthodox Church, Ford Foundation, Bahai  Temple, Asian Games village, Nehru Pavilion at the International Trade Fair ground besides photos of their creators and architects at their homes. “He was the only photographer working with a Linhof camera, which had full shifts and tilts with a wide lens, so he could do pictures with no perspective distortions. By shooting with the architects he learned about light and volume and the best position for his camera. His pictures are outstanding not only in an Indian context, but in the international scene too,” explains the curator adding that, while some  images have been printed in architecture journals or magazines and others in books, they have never been shown together as a body of work on architecture, and never in an exhibition.

Through the exhibition, Ram also pays a tribute to the great movement in architecture breaking the shackles of revivalism. “In many ways it places this work before the public again. This was a high moment in Indian architecture and because of various reasons...the chief being a total collapse of vision among our ruling politicos and also a general loss of identity in our culture on a broad level ... this tradition died.”

Bottomline: The Nehruvian era was filled with hope and promise of a new India and the buildings of this time came to symbolise it.

What: Delhi Modern: The Architectural Photographs of Madan Mahatta

Where: Photoink,  MGF Building, Ground Floor, 1, Jhandewalan, Faiz Road, New Delhi.

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Condos in the Yorkville and Annex neighbourhood have come to exemplify style, sophistication and luxury. So the principals at Mansouri Living knew the bar would be high for the project they planned to build at 128 Pears Ave.

The result is The Perry, a modern elegant building that will establish some firsts on the Toronto condo scene. It’s the first development in North America to include kitchen and other components by international design firm Poliform. Plus an innovative window system will allow interior living spaces to open expansively to the outdoors. And buyers will receive a one-year membership to an exclusive concierge service. The Perry will open to the public in June.

“The underlying vision for project was to create a boutique, intimate building,” says Maryam Mansouri, vice president of Mansouri Living, which represents the evolution of a home construction business founded 30 years ago by her father, Sharok, the company president.

He and his wife, Fereshteh, are architects who met as university students in their native Iran and came to Canada in 1984. Maryam’s sister, Nargues, is also a company vice president and the sisters are concentrating on building a lifestyle brand focusing on urban condo projects.

“In the early stages of The Perry, we worked with the neighbourhood and the city to find something appropriate for site and the market place. We went with an 11-storey building, which is pretty rare in the Toronto condo world. It has only 45 suites and is fairly exclusive,” says Mansouri. The Perry will include 2,500 square feet of commercial space at street level that will house a high-end fitness and wellness centre with private access from Pears Ave.

The Perry team was carefully chosen and includes Drummond Hassan of Young + Wright/IBI Group Architects, interior designers Matt Davis and Anwar Mekayech of The Design Agency and landscape architect Diana Gerrard of gh3. They came together for an integrated design process that also included Mansouri, who holds a master’s degree from the University of Waterloo’s school of architecture.

“The essence of the project is contemporary but we’ve incorporated really rich finishes and details into the suites and common areas,” says Mansouri. “The palate of today’s buyer is very refined and they definitely have an appreciation for a contemporary aesthetic, but it’s not always easily achieved.

“You have to spend more time in the design process and in refining details. You can’t distract the eye with busy details or extra accessories or components.

“Drummond has such an intelligent approach when it comes to design,” she adds. “ He looks at it very cohesively and holistically and was very conscious of the context of the site and building. We appreciated his sensitivity to design.”

The entrance to The Perry from Pears Ave. will be distinguished by custom-crafted solid wood doors with a classic chevron pattern, stained in dark grey for a contemporary flair. Separate from the rest of the building will be two street-level urban townhouses framed in charcoal limestone and with open-concept interior layouts.

Mansouri also was impressed by the clean, modern interiors created by The Design Agency that blended cohesively with the architecture. The gallery-style lobby will boast a modern fireplace, Calcutta marble floors and a custom-made sculptural concierge desk.

“They (Davis and Mekayech) are very grounded. It’s very easy for some designers to put their interior design brand first and make that a centrepiece. For us, it’s about good design and good intention and good components,” says Mansouri. “They created a lot of proprietary design details especially when it came to the kitchen and Poliform is a huge part of project.”

Among the signature elements of The Perry will be the components created by Poliform, a high-end Italian company which recently opened a showroom in Toronto.

“Poliform has been involved in a few condo projects but in minor parts of interiors, such as upgraded kitchens or wardrobes,” says Mansouri. “For us, it’s a package and every suite will come with Poliform vanities, kitchens and wardrobes. Offer luxury as a standard has been our mantra since the beginning.”

The Perry kitchens will also include high-end Gaggeneau appliances. The suites will have nine-foot ceilings and floor-to-ceiling windows, which will employ an innovative lift and slide system so the living room becomes a true indoor/outdoor living space opening to a Juliet balcony, standard balcony or terrace.

Another perk for buyers will be a year’s free membership to Quintessentially, a private members’ club with a 24-hour global concierge that can accommodate requests for everything from travel arrangements to dry cleaning to restaurant reservations. The Perry will also have its own 24-hour concierge.

Mansouri says it was important to offer an intimate green space and Gerrard came up with an “amazing” outdoor amenity that will be clad in blue and mulberry granite.

“We call it the Serenity Terrace and it will be wrapped in white pine trees,” Mansouri says. “We partnered with Kiosk in Toronto to furnish the common areas in the entire building from their selection of pieces and the exterior terrace will have beautiful, crafted artful pieces by Paola Lenti (a luxury furniture brand based in Milan).”

“The terrace will have a dining space, an outdoor fireplace and an intimate, quite elegant, environment. It’s a space you can really make use of.”The pine trees surrounding the terrace will be lit from below at night.

Mansouri says the building is geared to the end user as “it’s truly a building people will live in and feel at home in. We are very excited about it.”

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