Can you tell us something about your firm, ANACAPA?
The most logical place to start would be with our name. So our name, Anacapa, is the name of one of the Channel Islands, and that specific island has a deep history with the local Chumash people who inhabited that land for thousands of years. Holding this position within that local community, I feel like this is a means of serving as a deep reminder of that connection to place and to a community, and the imperative to sustain a harmony with the land that we occupy. So for us, even today, we hold this very true with the way that we work in the community that we engage with, both locally and further afield. Beyond that, we also consider ourselves to be a rather diverse office, specifically given the small context of Santa Barbara. So we have people from over eight different countries represented in our office, and we feel that that allows us to have a platform not only to, again, engage locally with the local community, but also to have a voice within that more international community.
How do you achieve this in terms of design?
Our starting point is we always visit the sites, and we’ll even camp on sites to have a better understanding of what it means to occupy that land and understand the life cycle, at least through a day, of what that landscape is. We tend to rely on utilizing local materials as much as we can. Our material palette also tends to be one that is very elemental. A lot of stone, wood. We do lean heavily into natural materials. And so for us, I think it’s just looking at what’s available, looking at not only the local materials, but also the color palette and just the general way that maybe even vernacular or older traditional buildings would occupy that site, and using those as cues to marry what’s locally appropriate with our client’s desires, which is always finding that perfect Venn diagram of how to get it right.
We want to use materials that come from the Earth which have had the fewest degrees of processing. So we love heavy timber. We’re currently exploring a lot more with Ramd Earth and finding ways to use healthy materials that have a lengthy life cycle. We want our buildings to be buildings that can be around for a very long time, because for us, quite frankly, that’s one of the most sustainable things that you can do in our field is either reusing existing buildings, which is our preference when we can. And when we can, we want to make sure that we build something that’s going to be there for a very, very long time.


How does the office relate to the theme of sustainability?
Sustainability is such an interesting word today. I think it is a phrase that is very catchy. And it is inherently at the heart of what we do. But I think even before sustainability became a buzzword, we were still designing in such a way that we felt that building in communication with the landscape, building healthy buildings that utilize materials that don’t off gas, that are good for you, and that last a long time, and that don’t have such an adverse impact on the world that we live is definitely something that we strive for in our work and continue to research and try to find ways to elevate that.
“Timelessness” is another buzzword. However one would objectively describe that. I think we are not trying to be “trendy”.We want to buck the notion of fashionable or trendy and do things that resonate with people. I think that also goes back to this very elemental or even vernacular way of looking at design and architecture and the simplicity of creating spaces that are enjoyable and experiential for people, which creates a meaningful experience today. And the intent is that in 200 years, somebody could stumble upon or occupy that space, even if it’s a ruin, and still be able to extract some meaningful experience.
Do you have specific references that inspire your work?
I personally could name a number of architects whom I find inspirational. One of the things that we do, and we encourage everybody in our studio to do, is to go out into the world and experience spaces. Whether it’s Mesa Verde, a Pueblo community with dwellings carved into a cliffside, or traveling to experience the Hutongs of Northern China or the Komiko Housing in Japan… These are broader-reaching inspirations. I think being able to go around and experience spaces and have this almost endless ability to pull references from the things that we each experience and to use those collectively as a team to create something that is going to become unique and interesting and meaningful is at the heart of it.
How much do the construction methods impact the output of your projects? Do you have to use a specific technique to achieve a particular result, or does the method of construction hold primary importance in your projects?
For us, materiality comes very early and that’s because it is very inextricably linked to our structural systems, whether that be steel or rammed earth or heavy timber framing. We tend to make those decisions very early on. Because they do have such an impact on both the functionality of the building and on the aesthetic. When you celebrate the structural system and the means of construction, it’s important to think about that early.
For us, starting with that and making it beautiful and integral to the design means we are already ahead in ensuring the longevity of that conceptual framework for many years to come. We like to start very, very early with the means, methods, and materials.


Can you tell us about this year’s Architizer award-winning projects and explain why they were selected?
Although those two projects, aesthetically are quite different, they share a lot of similarities and approach. Both are very much responding to a client brief and to the specificity of context. ”Rincon house”, for example, is positioned on Rincon Mountain, overlooking what happens to be a very famous surfing spot, an idyllic, beautiful landscape. But our client wanted something that would be very subversive to the beauty of the surrounding landscape. We took a quite literal approach, merging the building with the hillside. And we wanted to not only celebrate that almost 270-degree amazing view, but we also wanted to find moments for them to be able to intimately connect with nature. So we inserted several courtyards into the home that would allow them, even on a windy, cold day, to be able to engage with the landscape and enjoy these amazing views.
In contrast, the “Ranch House” is located in the San Ynez Valley in a very famous wine region known for Pinot Noirs. It’s famous for its very traditional stone buildings. Our client wanted something that both fit in with the landscape and drew from those traditional homes, both in terms of form and materials. We used a local Santa Barbara sandstone for that building. We convinced the client to build something quite modest in scale. I think today that is so provocative, one of the most thoughtful and sustainable things we can do is just make things smaller and use better materials, higher quality materials.
In your opinion, what are the reasons why these two projects were selected by Architizer?
What I would like to believe is that they show a sensitivity to the context in which they’re built. I think they are indicative of what rigorous, thoughtful design can look like. Something can be contemporary and relevant, but not fashionable. Our hope is that we’re creating things which are meaningful. I think they’re attractive at first sight. But then, as you dig into them, more can be revealed from those projects, both intellectually and experientially. I think those are two good examples of something that immediately captures the imagination but also stands up to both the intellectual and experiential test when you dig deeper.
In Europe, especially in Italy, craftsmanship plays a key role in the process of building interiors.How does it work in the US?
Having worked internationally and tried my hand at traditional Japanese carpentry while working in Japan, I certainly respect craftsmanship. It is integral to the work we do. It is certainly more challenging to find these skills here in the United States. We’re constantly looking for artisans who share our values and are passionate about their work. On one of our recent projects – a hotel – we found local artisans to create all the ceramics, including decorative pieces and items such as coffee mugs and pour-overs. We’re always looking for ways to engage with local craftspeople, whether in building structure, masonry craftsmanship, or creating objects.The challenge now is: how do you define craftsmanship in contemporary American society, when most trends lean towards fast construction and pre manufactured materials? The challenge becomes even more daunting if you want all of your projects to be bespoke.























