Ryan Leidner Architecture, the San Francisco-based firm, has unveiled a stunning wood-and-stucco desert home and studio located in Southern California’s High Desert. This project, designed for painter Heather Day and creative director Chase McBride, combines mid-century Eichler home principles with southwestern art influences, creating a harmonious blend of architecture and landscape.

Nestled near the Joshua Tree National Park, this house was constructed on a previously undeveloped desert site. The design process sought to respect the surrounding environment while providing expansive views of the desert.

Studio founder Ryan Leidner shared, “We sought to respect the landscape with the design of the house, maintaining a compact footprint while still enjoying the sense of expansiveness one feels in the desert.”

He further described the journey to the property, saying, “In order to get to the property you drive several miles down an unpaved, sandy road through the desert, seeing the occasional home or trailer along the way. And then you take a final turn, and the house begins to emerge from behind a rock outcropping. What you see is this white line in the landscape, and it feels just so surprising, and I think beautiful.”

Inspired by Mid-Century Modern and Artist Studios

The design draws heavily on the clean, logical structure of mid-century Eichler homes, which the team had previously renovated. An exposed post-and-beam structure with regular spacing informs the room layouts, contributing to the home’s seamless integration with its desert setting.

The architecture also takes cues from artist studios, including those of Georgia O’Keeffe, Willem and Elaine de Kooning, and the personal residence of Mexican architect Luis Barragán. These influences can be seen in the simplicity and functionality of the space.

The home features a rectangular wood frame that steps down to match the natural rocky slope of the land. The structure is covered in a white plaster stucco exterior, which ensures the house can endure the harsh climate and weather fluctuations typical of the desert region.

“Initially, we explored using a neutral tone plaster with the thought that it would blend in with the desert landscape,” the team explained. “But as we studied that option further, we realized that it actually took away from the architecture and the landscape. Having more of a contrast in tone helped to highlight the beauty of the surroundings.”

A Space to Reflect and Connect with the Landscape

On one side of the house, a solid white wall extends the length of the structure, with double doors and sidelights aligning symmetrically across from another set of doors on the opposite side. The nearly symmetrical design continues with a spacious central porch and elevated deck, accessed through floor-to-ceiling sliding glass doors.

Large windows adorn the house, bringing abundant natural light into the bedrooms and artist studio, while wooden roof trusses extend slightly beyond the walls to provide shade to the glazed openings.

On both ends of the home, clerestory windows, framed by slender vertical wooden bands, provide further light and ventilation, contributing to the home’s airy feel.

Inside, the heart of the house is the open-plan living area, where the kitchen, dining, and living room flow into one another, highlighted by exposed wood ceilings, white walls, and concrete flooring. A short hallway leads to the bedroom and bathroom, while the opposite side of the main room transitions into the expansive studio space.

Resident Heather Day expressed her connection to the house and its surroundings: “Living here has helped both of us slow down and savor each day. The way the windows frame the rugged landscape that seems to change throughout the day or with each season makes us feel closer to land. It’s like an ever-evolving painting outside.”

Ryan Leidner Architecture has previously worked on several notable renovations, including a 1940s home in San Francisco’s Bernal Heights, where they added a bridge over the front garden, and a 1960s Eichler house in Silicon Valley, from which they drew inspiration for this desert project.

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This innovative project, constructed using 11 glulam portal frames prefabricated in Delhi, represents a significant step towards sustainable architecture in India. Principal architect Akshat Bhatt explained the motivation behind using this material: “The decision to use mass-timber stemmed from a desire to push the boundaries of sustainable construction in India.”

A Unique Sustainable Design

The linear residence is perched on stilts to minimize environmental disruption, with a concrete base and retaining walls providing structural support. This design approach offers protection from moisture while harmonizing with the surrounding lush landscape. Glulam, known for its high strength and low carbon footprint, was chosen for its ability to deliver precision and aesthetic appeal.

Bhatt highlighted the environmental significance of this approach: “Mass-timber has the potential to revolutionize residential design in India by offering a sustainable alternative to conventional materials. Its carbon-sequestering properties and renewable nature make it an ideal solution.”

Functional and Aesthetic Features

The home includes open-plan living areas on the ground level, flanked by large glazing on three sides, ensuring natural light fills the space. The living room extends into an open deck, providing panoramic views of the tropical environment. Upstairs, a mezzanine gallery overlooks the living space, leading to the master bedroom.

The interiors reflect a minimalist approach, featuring white-painted walls, black granite floors, and simple furniture, including leather-upholstered pieces such as an iconic Eames chair. A glass-lined workshop occupies the stilted ground floor, catering to the client’s hobby of woodworking.

The charred timber cladding, created using the traditional Japanese Yakisugi technique, enhances the home’s durability and moisture resistance, making it ideal for Goa’s humid climate.

A Vision for the Future

Bhatt sees this project as a precursor to a broader movement towards sustainable construction in India. “It is time for a revolution. Bold design must be realized with sustainable technology, and small-scale experiments like this can be a catalyst for change,” he remarked.

Architecture Discipline’s accomplishment aligns with global trends of leveraging mass-timber for sustainable development. Recent examples include a timber sports hall at the University of Zurich by Itten+Brechbühl and a visitor center in the Czech Republic by Henkai Architekti.

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The exhibition, meaning “scene” in Urdu, was inaugurated by Prime Minister Shehbaz Sharif, Qatar’s Emir Sheikh Tamim bin Hamad Al-Thani, and Sheikha Al Mayassa Al-Thani. Curated by the Art Mill Museum team, it presents a thematic exploration of the nation’s cultural narratives, offering a rare glimpse into private collections.

Caroline Hancock, senior curator of modern and contemporary art at the Art Mill Museum, remarked, “Pakistan’s art scene is less well known in the world compared to other art scenes, and for us art historians, it is absolutely fascinating to be able to share it with the world.”

The exhibit begins with colonial and post-colonial works by Abdur Rahman Chughtai and Zainul Abedin. Key themes include the 1947 partition, with contributions from artists such as Anna Molka Ahmed and Zarina, and urban artistic experiments from luminaries like Sadequain, Zubeida Agha, and Murtaja Baseer.

Architectural heritage takes center stage with works by pioneers like Raza Ali Dada and Nayyar Ali Dada, alongside contributions by international architects, including Konstantínos Doxiadis, who designed Islamabad, and Michel Ecochard, who planned Karachi’s first university.

Highlighting contemporary issues, the exhibition showcases Yasmeen Lari’s bamboo shelters for flood victims, emphasizing sustainability. Karachi-based collective LaJamia addresses environmental crises in Sindh, reflecting art’s role in ecological discourse.

Co-curator Zarmeene Shah emphasized, “Because we never see such a body of noteworthy work come together in a single space, as most of these artworks live in private collections, inaccessible to the public, which is why Manzar offers an incomparable opportunity for audiences to engage with these masterpieces.”

The exhibition extends to Sheikh Abdullah Al-Thani’s courtyard with immersive installations and video programs, merging art and architecture to document Pakistan’s socio-political evolution.

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