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Architects Christian Dimeling and Dominique Houriet are doing their part to provide solutions to San Diego’s housing crisis — and implementing masonry in the process. In 2021, the city launched Complete Communities Housing Solutions to provide infill developers with opportunities to contribute to the region’s housing supply. As architects and builders, Christian and Dominique responded to the city’s call for new housing with Le Parc, a $13.6 million, 32-unit, eight-story multi-family development in San Diego’s North Park neighborhood.
The architects, along with Dominique’s [oo-d-a] Studio, have developed a new approach that optimizes masonry materials, assemblies, and environmental systems to reduce costs and construction times, increase unit delivery, and enhance living quality.
“I’m actively seeking more sustainable methods in masonry’s manufacturing process,” says Dominique. “My aim is to figure out how to make block production as efficient as possible while reducing the carbon footprint. This could involve creating lighter blocks or innovating the production process to open up more pattern options.”
Together, Christian and Dominique discuss their latest project and delve into the integration of masonry in their designs, the early influences shaping their material preferences and the innovative techniques that excite them in modern construction. Their conversation also explores how masonry contributes to the aesthetics of projects and its evolving role in contemporary architecture.
Christian Dimeling: I’m originally from Pittsburgh, where I grew up surrounded by older, historic buildings made of brick, stone, and concrete. I began in urban planning before I transitioned to architecture and my ambition is always to construct taller buildings, making concrete an ideal material. I prefer not to use wood in construction due to its lack of waterproofing and insulation — I’m interested in a building block that can offer more fluid and personalized design. I love that a manufacturer can conjure up a block with cool patterns, creating texture and depth.
Dominique Houriet: After completing my master’s in architecture at Texas Tech University, I moved to San Diego, where I immediately started working on both the architectural and construction sides of projects. When my career was just starting, I was sort of a unicorn in that I was working on both angles — most people in my position were just drawing because they were told to do so. In contrast, I was out in the field, actually building what I was drawing. This hands-on experience was invaluable.
Early on in my career, I realized that masonry was easier to work with compared to other materials. In architectural drawings, masonry is represented simply by one line on the outside and one on the inside, whereas drywall, for instance, requires depicting layers and various components to fit windows. This realization sparked my interest in the simplicity of masonry.
I started exploring how masonry could be utilized in everything I designed and constructed. Our latest project, Le Parc, revolves around this concept — using a simple product that requires only one individual to lay and place each block. The beauty of this approach is that once the block is placed, its exterior and interior are finished simultaneously. This significantly streamlines the construction process and is something I’m deeply passionate about pursuing further.
CD: I’ve always embraced big-scale ideas, while my partner Dom is a master of refinement. I bring the broad concepts to the table, and Dom distills them into more precise, executable plans. He’s incredibly hands-on, even designing his own furniture, which reflects his detailed and meticulous approach to building.
Le Parc is a perfect representation of our collaborative dynamic. Every material is chosen to reinforce the idea of a single piece of rock being gradually sculpted. Working with Dom and his ability to select the right materials is integral to this vision. We’re determined not to bury our structures under artificial cladding. Instead, we aim to expose the beams and walls, leaving them out in the open, creating a sculpted, cohesive look. The block we’re using facilitates this aesthetic perfectly.
DH: For me, inspiration comes from architects like Ted Smith of San Diego’s The RED Office, known for his CMU block work, and Carlos Scarpa, who is more aligned with cast-in-place concrete. I find the block approach fascinating. It’s often said by developers that construction is a process of adding one block at a time, similar to building with 2x4s, but the block method requires fewer steps. There’s no need for repetitive processes like waterproofing, fireproofing or applying stucco. This simplicity and efficiency are what make the block approach so appealing to us.
CD: My foundation in the field comes from having worked extensively with various materials and trades. This experience has made me acutely aware that there are more efficient ways to build. One of these is modular construction, a method I’ve become increasingly familiar with, especially in my roles on the ownership and general contractor sides.
Dealing with subcontractors can be a challenge, often involving a lot of chasing and coordination. This experience led me to think deeply about how we can build more efficiently while still maintaining a strong aesthetic. There’s a significant push in the industry for prefab and modular construction. These structures are primarily built off-site and often wood-framed, but there’s a downside — many buildings constructed in the 70s using these methods are now being demolished after just a 50-year lifespan. This shorter lifespan leads to higher insurance costs and a greater environmental impact.
Because of this, I’m very interested in exploring how modular construction can be made more durable and sustainable. I’m particularly intrigued by the possibility of using blocks that are not only easy to work with but also environmentally friendly. My goal is to start planning and thinking about how to incorporate simple yet sustainable materials into the building process. And create structures that are not only efficient and aesthetically pleasing, but also have a significantly reduced environmental footprint.
DH: Does everyone say Legos? Toys aside, masonry is a fundamentally simple, almost primitive way to construct. This simplicity was particularly evident in a project I was involved in, where we built a seven-story building on a small infill lot. The project, Vivo in San Diego’s Little Italy, was challenging, as the site was squeezed between three existing buildings, with only a two-inch gap on one side and a six-inch gap on the other. We were building right up to the zero lot line, going as high as 80 feet.
For this construction, we utilized Type 1 methods, including masonry and cast-in-place concrete. However, we eventually transitioned to Type 3 construction, which involved a wood frame with two layers. The critical challenge here was that we couldn’t put scaffolding on the outside due to the tight space. This constraint led us to explore and implement construction methods that could be executed within a smaller footprint. This was a testament to the adaptability and efficiency of the block building approach. By using these techniques, we were able to successfully construct a substantial building in a highly constrained space, demonstrating the practical benefits of this method in urban environments.
CD: My expertise mainly lies in the manufacturing aspect of block construction. I’m aware of high R-value blocks which offer superior insulation, a key feature for efficient building. However, what truly fascinates me are the advancements in productivity, particularly in lifting and hoisting systems. These innovations are designed to get workers up in the air faster and more efficiently, replacing traditional, time-consuming scaffolding setups with systems that can lift and lower rapidly. It’s not just about the block itself but also about all the auxiliary systems that complement it.
Given that blocks are heavy, a major consideration for me is how to make the worker’s life easier. Implementing ergonomic and efficient systems is crucial to reduce physical strain and increase productivity. While I’m enthusiastic about technological advancements like 3D printing in construction, I’m also conscious of their potential impact on jobs. It’s vital for me that we don’t see people losing jobs due to automation. Trades like masonry are not just important for the construction industry — they’re a vital skill set that needs to be preserved and valued.
CD: Frank Lloyd Wright’s The Freeman House particularly inspires me because they created their own block and laid them in a unique pattern. It has a timeless appeal — I’d believe you if you said it was 300 years old or a brand new construction. This quality is a testament to the designer’s skill in crafting the blocks, providing the flexibility for the building to either blend with historical aesthetics or stand out as a modern marvel.
This approach elevates buildings to the level of art pieces or sculptures. It’s a stark contrast to the international style of architecture, where everything tends to look the same, often lacking character and a sense of place. In comparison, the use of block construction feels warmer and more inviting. It allows for the incorporation of local materials and embraces regional characteristics, so buildings not only fit their environment but also enhance it with different colors and textures. There’s a certain charm to this more primitive yet functional approach. They can reflect the local environment and heritage, making each construction unique and full of character.
DH: The possibilities with block construction are practically limitless. You can add unique patterns to the blocks, creating a distinct aesthetic. For instance, I came up with a specific print for Le Parc — a 3-score system on the 16-inch side and a 2-score on the short side. We used running bond CMU block, which gives a stacked look with joints lining up cleanly for a more modern appearance.
Shot blasting can also achieve different textures, and various pigments can be added to change the color. Exposing the aggregate in the block can create an interesting visual effect. Adjusting the sizes and heights of the blocks allows for even more customization. We can create patterns like horizontal banding, making the material and the building uniquely ours.
CD: Part of my role as an advocate for block construction is to convince designers to embrace a wider range of materials, especially those that they may not have considered before. It’s crucial for them to see and get inspired by the potential of these materials. We’re currently working on a project that I believe will really open people’s eyes to the capabilities of block construction. This project is designed not just as a structure, but as a source of inspiration, showcasing what can be achieved with block.
The industry needs to continually evolve in terms of sustainability, adaptability, color options, and flexibility. This evolution is essential to make block an attractive option for more people. As we introduce new possibilities, we make it a material that designers and architects are excited to work with. Repetition of details in design is common — we often reuse the same details in various projects because it’s efficient and reliable. However, it’s equally important to introduce new materials and techniques to keep designs fresh and innovative. By getting these materials in front of people in a way that excites them, we can encourage more widespread adoption.
Economics also play a significant role in material choice. Keeping block construction economical is essential. The cost of production needs to remain affordable so that architects can be mindful of the overall cost per square foot in their designs. Balancing innovation, aesthetics, and cost is a constant challenge, but it’s one that I’m committed to addressing in my work. By doing so, we can ensure that block remains a viable, attractive option for a wide range of construction projects.
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Over the last 15 years, Christian Dimeling has taken his passion and interdisciplinary skill set around the world, collaborating on master plans, feasibility studies and real estate development projects for both the public and private sectors in California, Southeast Asia, the Middle East and Central America. After completing his Masters in Architecture with a focus in Real Estate, Christian left the corporate world to gain experience in the field. In 2017, he joined an upstart, ultra-high-end, design and build developer as the owner’s rep. and construction project manager. While in this role, Christian cut his teeth on ground-up residential, commercial and hospitality projects; overseeing design, consultants, bidding, construction, budgets and schedules.
Dominique Houriet is an artist, architect and licensed general contractor in the San Diego area who practices architecture, product design, fabrication and construction. His works have been featured in The New York Times, Museum of Contemporary Arts, Riviera, Dwell, ArchDaily, San Diego Home & Garden and more. Shortly after graduating with a Master of Architecture degree in 2003, Dominique moved to Southern California aspiring to practice
architecture and construction. In 2008 [oo-d-a] studio, inc., opened its doors. [oo-d-a] studio strongly bases its focus on responsive, contemporary designs. The architecture is a direct response to user needs and the surrounding natural elements. With projects in the US and Mexico, [oo-d-a] studio is well known for its thoughtful craft in both the commercial and residential realm.
LinkedIn:
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Christian Dimeling
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Website:
www.oo-d-a.com
https://www.leparcsd.com/