The House of Chairs takes the 1:1 Chair's framework — weaving planes, structure as skin — and scales it up to a building by wrapping the exterior in a perforated metal mesh. The mesh does real work: it filters the light reaching the interior and shifts constantly in relation to the spaces inside.

A ramp threads through the building's section, sometimes close to the mesh, sometimes far from it. That back-and-forth sets up a running dialogue between the structural skin and the path through the building, letting the mesh's light-filtering quality directly shape how movement feels.

The ramp's curvature is taken directly from the original chair. The same organic geometry that made the chair's seat and back moves here into the section of the building, connecting both objects across scales.

The building sits at the edge of Cascadilla Gorge and cantilevers out over the ravine. From inside, the views drop down to the rock face and waterfall below. The building does not announce its edge — it steps to it.

Photomontages tested the mesh-wrapped volume against the gorge in different seasons: autumn foliage, bare winter rock, the permanent sound of the waterfall beneath.