For New York-based architect Bryan Young, the built environment is never merely a collection of walls and ceilings. It is a dialogue between material science, historical memory, and the raw, unpredictable beauty of nature. As the founder of the acclaimed studio Young Projects, Young has spent over a decade pushing the boundaries of contemporary architecture, moving seamlessly from the construction of jungle retreats in the Dominican Republic to the meticulous curation of artisan-crafted furniture at his Tribeca gallery, VERSO.
In this edition of Friday Five, we step into the mind of a designer who finds as much inspiration in the "vibrating" geometry of a silkscreen print as he does in the structural rhythm of a tropical canopy.
The Foundation: A Career Forged in Inquiry
Bryan Young’s journey into architecture began long before his formal education. Growing up in Los Angeles, he developed an early, visceral sensitivity to space. He recalls the profound impact of the Salk Institute for Biological Studies, which he would encounter while surfing at Black’s Beach in San Diego as a teenager.
"It is still one of the clearest and most authentic buildings I have visited," Young notes. This early exposure to Louis Kahn’s masterpiece instilled in him a belief that architecture should be both a monument to human ingenuity and a humble participant in its surroundings.
Young’s professional trajectory was refined through rigorous academic pursuit: he earned a bachelor’s degree in architecture from UC Berkeley before honing his craft at the Harvard Graduate School of Design. In 2010, he launched Young Projects in New York City. From the outset, the studio distinguished itself through an obsession with materiality. Whether through the experimental growth of crystals or the labor-intensive hand-pulling of plaster, Young Projects treats every surface as an opportunity for innovation.
Chronology of Influence
To understand Young’s design philosophy, one must look at the objects and experiences that have shaped his perspective over the years:
- The Geometry of Girard (1972–Present): A silkscreen print by Alexander Girard, gifted to him for his wife’s birthday, remains a foundational touchstone. The piece, composed of bundles of blue triangles, taught Young about optical effects and the power of repetition. This fascination with "vibrating" surfaces would later directly inform the tiling strategy of his firm’s Glitch House project.
- Raina Lee’s Ceramic Roses (2024): Young holds a deep appreciation for the intersection of craft and chemistry. Raina Lee’s ceramic interpretation of Van Gogh’s Roses—utilizing a complex chrome and tin glaze—serves as a reminder that aesthetic beauty is often the result of rigorous, trial-and-error scientific inquiry.
- Pop-Culture Nostalgia (1979–1981): A combination of his grandmother’s taxidermy collection and a battered, cockpit-less Millennium Falcon toy from his childhood fuels his interest in narrative-driven design. Young embraces these "strange juxtapositions" as a way to inject personality and human connection into architectural spaces.
- The Playa Grande Revelation (2015): The initial site visits to the Dominican Republic marked a shift in Young’s work. Encountering the untamed, dynamic jungle landscape forced him to reconsider the role of the architect: not as a master of the environment, but as a guest.
- The Return of Live Performance (2021–Present): Since the pandemic, Young has found renewed creative energy in the live music scene. From the Flaming Lips to Kendrick Lamar, these shared, electric experiences have reminded him of the importance of "being fully in it"—a sentiment he applies to the immersive nature of his architectural designs.
Supporting Data: The Architecture of Experience
Young Projects is defined by its ability to execute complex, structural narratives. Their work often involves deep collaboration with artisans, a philosophy that extends to the gallery space as well.
Key Projects
- Glitch House (Dominican Republic): A structure that defies traditional "gatehouse" boundaries. Clad in handmade encaustic cement tiles, the building uses a quarter-arc pattern to create an oscillating, vibrating effect that merges the architecture into the surrounding jungle.
- Soho Loft (New York City): A masterclass in warehouse conversion. The space centers on a plastered foyer and a Scagliola archway, with custom walnut and stainless-steel millwork grounding the kitchen. The design creates a rhythm of movement, wrapping library bookcases around private zones to maintain both openness and intimacy.
- French Quarter Cottage (New Orleans): This 1820s Creole renovation serves as a study in color and sequence. Each of the four primary rooms—bar, music room, salon, and dining room—is treated with distinct finishes and linked by "portals"—custom, ombre-patinated gold-leafed doorways.
- Casa Las Olas (Dominican Republic): A masterpiece of structural engineering, the retreat is a "drifting ring" positioned beneath the canopy. The roof, composed of 160 unique scissor trusses, navigates the site’s geometry while providing panoramic views of the Atlantic.
- The Upside Down Chair: A collaboration with Art in Construction, this piece utilizes 17th-century scagliola techniques to bridge the gap between refined indoor luxury and rough, geological exterior durability.
Implications for Modern Design
Bryan Young’s work suggests a shift away from the "minimalist" obsession of the early 21st century toward a "tactile complexity." By prioritizing hand-crafted details—whether it be the ombre-patina of a doorway or the specific chemical reaction of a ceramic glaze—Young Projects proves that architecture is at its best when it demands to be touched and experienced.
Furthermore, his dual role as an architect and the co-founder of the VERSO gallery underscores an increasingly important trend: the dissolution of the barrier between "high" architecture and collectible design. By curating objects that reflect his architectural values, Young creates an ecosystem where the furniture and the structure speak the same language.
Official Perspective: The Philosophy of the "Glitch"
When asked about his fascination with the "Glitch," Young clarifies that it is not about error, but about discovery. In his view, when a surface vibrates or when an architectural element "smears" into the landscape, it forces the occupant to slow down. It demands a level of attention that is often lost in the modern, fast-paced world.
"When you stare at something for a long time over many years," Young says, "it is exciting to realize that it is becoming more interesting." This patience—the ability to sit with a project, a material, or a piece of art until its hidden depths reveal themselves—is the defining characteristic of Bryan Young’s practice.
As the industry continues to grapple with the tension between sustainability and luxury, Young’s commitment to site-specific, artisan-led, and historically conscious architecture offers a compelling path forward. He reminds us that even in the "concrete jungle," the most dynamic structures are those that remain in constant, respectful conversation with the world around them.
Anna Zappia is a New York City–based writer and editor with a passion for textiles, fashion, and design. Her coverage of the intersection of craft and contemporary architecture continues to highlight the most influential voices in the field today.
