Other Cities Could Learn a Thing or Two from Charleston’s Affordable Housing Plan

In an intensive week-long session, architects, contractors, and community groups convened to develop plans that will allow the city to bump up the number of living spaces while retaining its historical character.


Charleston, South Carolina is the quintessential historic village, a place where brightly colored rowhomes foreground church steeples; where building ornaments are at ease in the low-rise, treelined environs. Here, the built environment reflects the city’s character, and mayor William Cogswell doesn’t want to mess with that. As a lifelong Charlestonian who worked in the private sector in property redevelopment prior to entering public office, Cogswell knows what makes his city special—but he’s also acutely aware of the challenges it faces. Charleston, like many other American cities, has underbuilt even as the population has exploded over the past 15 years. They need more homes, and fast. 

To meet housing demands, the city launched Project 3500, an initiative that will build 6,000 new homes by 2032, more than half of which will be reserved as affordable housing. But this strategy isn’t following the typical housing motivators like Requests for Proposals, design competitions, or policy changes. Instead, Project 3500 has taken care of the early-stages legwork, namely locating sites and acquiring entitlements, and strategically securing financing partners. Crucially, they held a design charrette—a design and planning workshop open to stakeholders and the public—this month. The week-long event assembled a team of local and international architects, including Christian Sottile (Sottile & Sottile) from Savannah, GA, Ben Pentreath (Ben Pentreath Ltd) and Hugh Petter (ADAM Architecture) from the United Kingdom, Vince Graham (LOCI Design) from South Carolina, and architects at Historical Concepts from Atlanta, to create a design scheme that will not only be pre-approved but deeply conscious of Charleston’s historic fabric. It’s a major undertaking, but perhaps emblematic of how deep the housing crisis goes: A city located in a deep-red state led by a Republican mayor is devoting public resources to develop homes affordable to working people. 

Project 3500 is the result of a year-long collaboration with pro-bono consulting firm Bloomberg Associates, which generated a report on the state of the city’s housing. The findings, per the study summary, show a population growing in numbers and wealth: Not only has the area median income doubled in the past 12 years, but the city’s population has increased at a rate about twice the national average. Building hasn’t kept up, as the report states: over the past seven years, the city has only constructed 399 new units. It has created significant pressures on working households: Home prices in the city have increased significantly—nearly 20 percent since 2021—and while rental prices cooled somewhat last year, on the whole they’ve increased since 2020 and are now more than seven percent higher than the national average. 

Groups toured Charleston to observe the city’s residential architecture (left). Ben Pentreath gave a lecture on relevant learnings from his work in the U.K. (right).

Groups toured Charleston to observe the city’s residential architecture (left). Ben Pentreath gave a lecture on relevant learnings from his work in the U.K. (right).

Courtesy City of Charleston

The problem isn’t unique to Charleston, and many cities have opted to change their regulations and requirements to address it, using legislative tools like upzoning to encourage new multifamily construction; others have loosened regulations around accessory dwelling units and parking requirements, or have pursued broader "cut the tape" initiatives to remove lengthy review processes. All of these require some degree of negotiation—and compromise—and often leave it up to the private sector to take advantage of those reforms to meet housing needs. Cogswell notes that they’ve tried the policy angle, but it hasn’t made it easier to remedy a dire situation. "Charleston is one of the world renowned built environments, and it’s also an extremely difficult place to build in," he says. Multiple review boards that are "very strict" and climate-related flooding make development especially arduous. 

Cogswell had traveled to the U.K., Denmark, and the Netherlands to tour social housing projects, and along the way met with Pentreath and Petter to see their work, which is known for its adherence to historic precedents. Visiting Pentreath’s work in the town of Poundbury, Cogswell saw echoes of Charleston’s character; he aspired to the area’s mixed-use buildings and scattered-site affordable dwellings that, while constructed over the past 20 years, look and feel like historic buildings. 

Back in Charleston, the city decided to devote its resources to constructing new units. Officials examined parcels of underused land they already owned (or were owned by a city-related entity like the school district or housing authority) and vetted them for feasibility based on access to transit, jobs, and services. They settled on four sites, all located in the city’s peninsula. They then brought Pentreath and Petter over to participate in the design charrette, opting to do a one-week, ultra-focused series of meetings with residents, city officials, and community groups to develop plans for these sites. 

The William Blacklock House at 18 Bull Street (left) was one precent home the group used as a reference. The Colonel John Ashe House at 32 South Battery Street (right) was another.

The William Blacklock House at 18 Bull Street (left) was one precent home the group used as a reference. The Colonel John Ashe House at 32 South Battery Street (right) was another.

Photos from Library of Congress

The charrette, architect Sottile explains, condenses a process that can drag on for years into one week. They aren’t uncommon practices in redevelopment, especially when designers are seeking engaged public input, yet can be another step in the already-extensive building process. But when combined with builders, regulators, and potential financers, a charrette can actually expedite a project through tough hurdles. Important to the Charleston process were the technical meetings, says Sottile, where they met with contractors and prefabricators to strategize around building elements that can be assembled quickly without sacrificing quality, as well as developers who came in from across the country to participate. The ultimate goal was to generate plans for thousands of new affordable units that would be essentially indistinguishable from the city’s market rate, classically-designed homes. 

"We can reframe the way a development team approaches a project where they might spend years working through design, approvals and all the bureaucracy or the technical requirements, the neighborhood meetings," says Sottile. "The city’s taking all of that and saying, why don’t we cast our own vision and work with the development community to shorten that process so that we have projects that can be ready to develop." 

Shortening the timeline dramatically changes the way capital can be brought in to do the work, he adds. The city has been working closely with the Department of Housing and Urban Development to secure tax credits, Sottile explains, while also using city, state, and local dollars. It might seem counterintuitive to create housing that matches the city’s historic charm—one built incrementally over generations—through a rapid-fire design process, but this is where the architects’ expertise in classical design shined. 

Architects actively worked on plans for the city during the charette.

Architects actively worked on plans for the city during the charette.

Courtesy City of Charleston

See the full story on Dwell.com: Other Cities Could Learn a Thing or Two from Charleston’s Affordable Housing Plan
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There’s a Massive Stone Arch That Welcomes You Into This $6M San Francisco Mansion

Set in Pacific Heights, the 1902 brick residence underwent a recent renovation that preserved its historic character.

Set in Pacific Heights, the 1902 brick residence underwent a recent renovation that preserved its historic character.

Location: 2196 Jackson Street, San Francisco, California

Price: $5,995,000

Year Built: 1902

Renovation Date: 2024

Renovation Designer: Katie Monkhouse

Footprint: 5,010 square feet (4 bedrooms, 4.5 baths)

From the Agent: "This fabulous Pacific Heights residence, exquisitely renovated with designer finishes, has just under 5,000 square feet of interior space, a lovely garden, and an exceptionally walkable location. Built in 1902 on a 50-foot-wide lot, this stately home is introduced by a grand stone archway, brick facade, mature trees and hedges, and a black-and-white marble entry vestibule. Inside, contemporary interior design is thoughtfully layered with bold color drenching and respectful nods to the home’s curved lines and classic architectural details, preserving the striking entry column, stained glass windows, and original wainscoting. Ascending the curved main staircase past stained glass windows and wood paneling, the second level houses four bedrooms and three bathrooms on one level, an ideal arrangement for families."

Photo by Lunghi Studio

The living room is warmed by wood-burning fireplace framed with Calacatta marble.

The living room is warmed by woodburning fireplace with a Calacatta marble heath.

Photo by Lunghi Studio

Photo by Lunghi Studio

See the full story on Dwell.com: There’s a Massive Stone Arch That Welcomes You Into This $6M San Francisco Mansion
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Budget Breakdown: A Family Looks to Sea Ranch for Their $273K Sag Harbor Renovation

Shingles, vertical planks, and a generous window arrangement bring a touch of the famous Northern California community to the Long Island home.

Kelli and Rob worked with architecture firm New Affiliates to renovate the exterior of their Sag Harbor weekend home, spending a total of $272,250 on the project.

When it’s summer in the Hamptons, an unpopulated beach is a rare luxury. For Kelly and Rob, even if a run-down house they were looking to buy wasn’t itself love at first sight, its proximity to a quiet stretch of sand and sweeping sunset views were convincing. But the 2,000-square-foot, two-bed, two-bath Sag Harbor home also had enough room for hosting, and offered a way for the family to escape a hectic schedule in Manhattan, where Kelly, an an art curator, and Rob, an artist, both work. "The house was not in great shape," says Kelly. "But it had great bones, as they say."

Kelli and Rob worked with architecture firm New Affiliates to renovate the exterior of their Sag Harbor weekend home, spending a total of $272,250 on the project.

Wanting a weekend retreat for their family, New York couple Kelly and Rob bought a home in Sag Harbor that architecture firm New Affiliates renovated for $272,250.

Photo by Hanna Grankvist

After purchasing the home in 2021, Kelly and Rob tackled an interior renovation first, keeping costs down thanks to Rob’s contracting skills. Rob tore out old carpet, squared off rounded wall edges, built bookshelves, and refinished popcorn-textured walls. He also patched and cleaned out holes in the walls, covered by curtains, where the previous owners stored a surprising cache of relics: dishes, roller skates, shoes. "It was really bonkers—a really strange situation," says Kelly. After that initial renovation, the couple spent time simply living in the house, seeing how they would use it, and brainstorming what other changes they might want to make.

In 2024, the couple were ready to refine the exterior, hoping to create something closer to the clean modernism and nature-oriented architecture of Sea Ranch. Through her career as a curator, Kelly had previously collaborated with architects Ivi Diamantopoulou and Jaffer Kolb, the cofounders of New York firm New Affiliates, on several exhibition designs. They had remained friendly over the years, making the studio an easy choice for a renovation.

$6,200
Site Protection & Preparation
$64,000
Structural
$7,000
Wall Finishes
$13,000
Electrical
$16,400
Plumbing
$20,600
Landscaping
$1,000
Kitchen & Bath Fixtures
$2,500
Lighting Fixtures
$14,000
Windows & Glazing Installation
$30,000
Windows & Glazing Procurement
$25,000
Exterior Decking & Railing
$5,500
Permitting
$10,000
Project Supervisor
$40,000
Architect/Design Fee
$15,500
Demolition
$1,550
Final Cleaning


Grand Total: $272,250
The 2,000-square-foot weekend house has 2 beds and 2 baths.

The firm added larger doors and windows to bring more natural light into the 2,000-square-foot, two-bed, two-bath plan, and to bring its aesthetic out of the 1970s.

Photo by Hanna Grankvist

It cost $20K to replace the fence and add new blue stone pavers.

It cost $20,000 to replace the fence and add blue stone pavers.

Photo by Hanna Grankvist

See the full story on Dwell.com: Budget Breakdown: A Family Looks to Sea Ranch for Their $273K Sag Harbor Renovation

Mexico City Landlords Are Evicting En Masse—and Everything Else You Need to Know About This Week

Trump’s ballroom plan gets the green light, Fannie Mae launches crypto mortgages, and more.

  • In Mexico City, entire buildings are being cleared out, sometimes overnight, as landlords illegally oust tenants to make way for luxury housing and short-term rentals. With rents soaring and the FIFA World Cup approaching, heated protests in response to evictions are only becoming more commonplace. (Bloomberg)
  • Fannie Mae is now offering crypto-backed mortgages, allowing buyers to leverage Bitcoin and other digital assets for a down payment. Here’s how the company is planning to turn an untapped wealth of cryptocurrency into home sales—and how it could benefit the buyer. (The Wall Street Journal)

  • In Los Angeles, a boom in backyard homes is colliding with a stubborn obstacle: overhead power lines that limit the height and placement of units. Because burying lines is expensive, designers are instead embracing constraints by shifting layouts, contouring roofs, and cantilevering spaces in what one architect calls "the electric slide." (Dwell)

Mayor Zohran Mamdani just introduced a new program to fast track affordable housing in NYC.

Mayor Zohran Mamdani just introduced a new program to fast track affordable housing in NYC.

Photo by Michael Appleton/Mayoral Photography Office

  • New York City’s mayor, Zohran Mamdani, just launched a program to speed up affordable housing construction on city-owned land, starting with three sites expected to deliver 300 units. Here’s how the city aims to build up to 1,000 homes in the next two years. (The Architect’s Newspaper)

  • So far, the White House ballroom project has amounted to one big game of red light, green light. This week, a federal judge ordered construction on the White House ballroom to stop, ruling that Donald Trump likely lacks authority to overhaul entire sections of the historic building without congressional approval. But now, it’s back on. (Bloomberg)

Top photo by lan Robles/Alamy

In Massachusetts, a Rare Midcentury Home Just Listed for $1.9M

Architect Ira Rakatansky designed just six houses in the state, and this one comes with a butterfly roof, a bright-red front door, and a monolithic fireplace.

Architect Ira Rakatansky designed just six houses in Massachusetts, and this one comes with a butterfly roof, a bright-red front door, and a monolithic fireplace.

Location: 58 Hill Street, Lexington, Massachusetts 

Price: $1,850,000

Year Built: 1955

Architect: Ira Rakatansky

Footprint: 3,100 square feet (5 bedrooms, 3 baths)

Lot Size: 0.53 acres

From the Agent: "The house was commissioned by the Dunn family. Friends of theirs, the Starrs, also commissioned architect Ira Rakatansky, to build the house next door. These two are among only about a half dozen homes built in Massachusetts from Rakatansky designs. The Dunn House’s siting, orientation, and carefully placed windows provide privacy and a connection to nature. The formal living spaces on the upper main floor are organized around a sun-filled living room with a sculptural fireplace and two walls of glass. The adjacent dining room opens through a glass door to the screened porch. The primary bedroom suite includes a large bedroom and an en suite bathroom. As drawn in the original plans, the large space is currently divided with open shelves into a sitting/dressing area with a wall of closets and a sleeping area with a tall, east-facing window. Three lower-level bedrooms from the original Ira Rakatansky design are currently used as an office, a guest bedroom, and an extra room for music lessons."

Architect Ira Rakatansky designed just six houses in Massachusetts, and this one comes with a butterfly roof, a bright-red front door, and a monolithic fireplace.

The butterfly roof is a defining feature of the home. 

Photo by Megan Booth

Photo by Megan Booth

Photo by Megan Booth

See the full story on Dwell.com: In Massachusetts, a Rare Midcentury Home Just Listed for $1.9M
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This Tiny Cabin in Spain Is Pretty Impressive for a Student Project

The 215-square-foot structure’s shou sugi ban cladding gives it a shaggy look, and a CLT construction system makes it relatively easy to break down and move.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: Lleida, Spain

Architect: Institut d’Arquitectura Avançada de Catalunya (IACC) / @iaacbcn

Footprint: 215 square feet

Builder: IAAC Valldaura Labs

Structural Engineer: Fustes Sebastia

Photographer: Adriá Goula / @adriagoulaphoto

From the Architect: "Forestone Cabin is an experimental wooden dwelling designed and built by the 2025 cohort of IAAC’s Master in Ecological Architecture and Advanced Construction, as part of the Bio for Piri initiative. Led by the Fundació Catalunya La Pedrera and funded by the Biodiversity Foundation with European Next Generation funds, this initiative promotes regenerative forestry and the sustainable use of local timber from Pyrenean forests, specifically in Alinyà (Lleida). Located at MónNatura Sort, in the Pyrenees, the cabin sits on a sloping site just a few steps from the existing hostel, offering temporary accommodation for two people, with a sleeping area, workspace, and bathroom.

 "The cabin’s sculptural form is inspired by the rocky terrain of the Pyrenees. Conceived as a block of stone that appears to have rolled down the mountain and come to rest naturally on the site, its faceted geometry is composed of inclined walls and a sloping roof that respond to programmatic needs, climatic conditions, and solar exposure. The geometry subtly adjusts ceiling heights and spatial proportions to accommodate different uses within a compact footprint, while openings frame views of the surrounding mountains and enable cross-ventilation. Operable wooden shutters ensure complete darkness at night, preventing light pollution and supporting the site’s astronomical activities.

"The exterior facade is made of pine boards with natural edges that have been charred following the yakisugi technique. These boards, cut to size and charred by the students themselves, not only increase the durability of the material but also symbolically evoke fire management and prevention—an essential aspect of regenerative forestry in the Pyrenees, the mountain range that separates Spain and France and whose name, Pyros, comes from Greek and means fire.

"Inside, the cabin becomes a fully integrated wooden space. Custom-made CLT elements—including the bed, built-in furniture, washbasin counter, and seating—were designed and fabricated by the students at Valldaura Labs, reinforcing a hands-on approach in which architecture, structure, and furniture form a single material system.

"The cycles of local materials extend beyond wood. During a nearby annual wool festival, students collaborated with local farmers to collect sheep’s wool, which was later washed, dried, and transformed into felt at Valldaura, with the support of Dutch artist Rian van Dijk. The resulting blankets, rugs, and pillowcases furnish the cabin, integrating local craftsmanship and agricultural by-products into the project. On the same visit, students brought back a stone from the surrounding landscape, which they manually carved using power tools to create a unique washbasin, further consolidating the project’s connection to its geographical and cultural context.

"From the outset, the project was conceived with an emphasis on replicability. Forestone was designed as a prototype demonstrating how small-scale architecture can be built using local timber, regional knowledge, and low-impact construction methods, while inhabiting forest landscapes without altering existing ecosystems. The use of modular CLT elements, dry-assembly techniques, and locally available materials allows the cabin to be adapted, replicated, or dismantled as needed, offering a model of sustainable forest habitation that aligns architectural production with long-term environmental stewardship."

Photo by Adriá Goula

Photo by Adriá Goula

Photo by Adriá Goula

See the full story on Dwell.com: This Tiny Cabin in Spain Is Pretty Impressive for a Student Project
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From the Archive: The 1960s Government Project That Helped Revive French Furniture Design

The Atelier de Recherche et de Création (ARC) fostered a virtual Who’s Who of France’s postwar style by giving designers like Pierre Paulin and Olivier Mourgue financial support paired with complete creative freedom.

Welcome to From the Archive, a look back at stories from Dwell’s past. This story previously appeared in the July/August 2006 issue.

It was 1964, and André Malraux, the French minister of culture, had an idea.

Jean Coural, director of the Mobilier National—the institution that conserves and commissions furniture for some 6o0 public buildings in France and abroad—had just led the nation to a grand prize at the Milan Triennale, where he’d presented strikingly modern design work. In that heady moment, Malraux proposed that Coural create a special workshop that would infuse the Mobilier National’s historic mission with new vitality by bringing in France’s most innovative designers and encouraging them to experiment freely. He also suggested that these creations be made available to furniture companies, which could market them commercially.

Such a workshop, Malraux believed, would reinvigorate both French style and the country’s design industry, which, according to Paris furniture dealer Stephane Danant, had been in the doldrums since the end of World War II. "Mostly, we were importing a lot of Scandinavian and American furniture," he says. "We didn’t have big companies like Herman Miller or Knoll, and there was no policy for export."

So Malraux’s proposal was smart—and not a little audacious. The Mobilier National was begun by Jean-Baptiste Colbert, Louis XIV’s finance minister, and in many ways is about preserving the past. It holds roughly 200,000 furnishings, all meticulously maintained in seven restoration studios and, although available for use by government officials, the exclusive property of the state. The notion of placing this august institution at the service of the avant-garde—and mass-producing the results—was, at the least, counterintuitive.

Yet Malraux was simply updating what Colbert had done, which was to bestow royal patronage on the state’s design houses, thereby increasing their business and establishing France at the center of international style. Coural embraced the idea, and the Atelier de Recherche et de Création (ARC)—the workshop of research and creation—was born.

Photos courtesy Sipa Press / Art Resource, NY / Bernard Annebicque / Corbis Sygma / Collection du Mobilier National

The result, in the words of designer Mattia Bonetti, "is an incredible legacy—not only for France, but for the world." The ARC has completed some 550 commissions across 42 years, furnishing presidential residences, embassies, and ministries, producing projects for lesser official settings, and using design for social benefit. It has encouraged the application of new forms, techniques, and materials—including polyurethane foam, carbon fiber, and industrial glass—to the art of furniture-making. And the atelier has given incomparable creative opportunities to over 1oo designers, architects, and artists—a virtual Who’s Who of postwar French style.

What’s more, the ARC does it the old-fashioned way, producing approximately 12 pieces a year, with a staff of nine craftspeople, in a workshop within the Mobilier National’s Paris compound. "It’s quite traditional," says Erwan Bouroullec, who with his brother Ronan designed furnishings for use at international summits. "Except that you don’t have to think about selling it."

That, of course, is a big exception—especially as it’s combined with unlimited financial support and complete creative carte blanche. "I know it sounds shocking, but the Mobilier National, the only thing they have to do is to spend money," Bonetti says. "You can do all the fantasies and research you want." Even institutional vanity plays its part. "These craftsmen are the best in France," Bouroullec observes. "They have the ego, if they make something new, to find the right way to do it, to spend a long time if they need to." This unique mix of unrestrained innovation and la belle ouvrage—old-fashioned excellence—has been deeply beneficial. "It’s morally and artistically rewarding," Bonetti says. "We are very lucky."

The designers have repaid the favor by shaping the look and life of France. A very partial project list includes the furnishing of embassies in Moscow, Washington, and Berlin and expositions in Osaka and Montreal; designs for the SNCF Corail train; a hospital bed, modular apartments for low-income housing, a prototype prison cell, vitrines for the Louvre, and, most famously, Pierre Paulin’s 1971 Élysée Palace apartment for Georges Pompidou, a trippy fantasia of rooms within rooms furnished with Paulin’s high-style take on the beanbag chair, which the president commissioned by saying, "There is no reason to allow the Italians a monopoly on innovation."

To be sure, the insouciant, revolutionary ARC of the ’6os—wherein designers like Paulin and Olivier Mourgue investigated new materials, production techniques, and modes of living—has passed. "That was the most creative period," Danant says. "It was about creating models for people and industry, not furnishing an embassy’s living room." Later, he believes, "the utopian goal of the atelier was lost"—a point reinforced by Bonetti when he says, of the elegant pieces he designed with Elizabeth Garouste in the ’8os, "Our furniture was meant to represent power." Nor did the industry connection really take hold. Some ARC designs, notably by Paulin, Mourgue, Étienne Fermigier, and Joseph-André Motte, were issued commercially, but—no surprise—they were too costly to produce in quantity. And, says Danant, "The group of people who wanted modern, expensive design was very limited."

But popular taste caught up—and that is due, in some measure, to the influence of the ARC oeuvre. "You can’t go directly from the Mobilier National to Ikea," observes New York furniture dealer Charles Fuller. "It takes two generations before these concepts become viable. But the seed is there, and ultimately new ideas and forms get incorporated into life." Indeed they do: Forty-two years after Milan, French design is once again preeminent, and its influence is comprehensive. Malraux—and Colbert—would be pleased.

Could an ARC happen here? It’s unlikely, given that the arts in the U.S. are largely supported by private money. As for official taste, well, Frank Gehry won’t be lining the Oval Office with titanium anytime soon. Still, one dreams of what an alliance between a home-grown atelier and American industry might produce. After all, observes Danant, "the Mobilier National helped two generations of designers move forward, to do things they wouldn’t have been able to do. And," he adds reasonably, "these are not utopian projects—you can sit on them!"

Photos courtesy Demisch Danant (by Mark Heitoff) / Collection du Mobilier National