By Nigel F. Maynard
To architect Dan Brunn, FAIA, architecture is more than aesthetics, engineering and structure. It involves so much more, including empathy, emotions, sounds and texture.
Founder of Dan Brunn Architecture, Dan was born in Tel Aviv, Israel, but he moved to Los Angeles at a young age. Though he has spent most of his life in the United States, his work is still influenced by the Middle East and can be seen in his wide use of polished floors, floor-to-ceiling glass and open floor plan.
Brunn’s work runs a full range of project types, including single and multifamily residential, restaurants, museums and restaurants and is multilayered, encompassing art, nature and the environment. Decidedly modern, his projects still have a warmth that makes them approachable.
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A perfect example is Brunn’s own L.A. home, Bridge House. Completed in 2019, the custom 210-foot home “bridges” a stream running across the site. The 4,500-square-foot home serves as a demonstration of innovative systems and forward-thinking processes and exemplifies Brunn’s signature minimalist aesthetic.
Recently, the firm was invited to participate in the Case Study House Program revival. Case Study 2.0 is a catalog of single-family model homes that will ultimately be approved as Standard Plans to allow easy adoption across thousands of parcels. DBA is “providing aesthetically refined, fire resilient architectural plans to empower communities impacted by the fires to rebuild beautifully, resiliently, and affordably.”
In a demonstration of DBA’s belief in empathy, the firm is offering free consultation services to homeowners and businesses that were affected by the Los Angeles fire in early 2025. “We know rebuilding can feel overwhelming, but you don’t have to face it alone,” firm’s site Rebuilding LA says. “Our caring team of licensed architects and designers is here to walk alongside you every step of the way.” The is aware that it cannot help everyone and has to manage resources, but it hopes to support as many families as possible.
Design Vibes recently caught up with Dan for a conversation about his work, thoughts on materials exploration and the future of residential architecture.
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Design Vibes: How did you get your start in architecture and design?
Dan Brunn: I can trace it back to around seven years old, when I started to build my own dream cities with LEGOs. I would come up with stuff that I would like to imagine was reminiscent of something out of Blade Runner. Later on in my life when we moved from a suburb of Tel Aviv to Los Angeles was another defining moment in my life. Since both cities are on the same longitude they should be getting similar light; however, I remember coming back from school and turning the lights on at home. Something I would have never done back in Tel Aviv. That is because the home was of the Bauhaus style and attuned to its surroundings, versus the faux Spanish Colonial duplex I was living in in Los Angeles that wasn’t even orientated properly to the sun. I attribute my consistent travel back to Israel for the summers as a pivotal contribution to my career in design.
DV: I’ve read that you have always been interested in car design. Is that still an interest of yours?
DB: Absolutely. I pinch myself now when I get invited by my friends to the BMW Designworks Studio in Santa Monica, California. It’s wild to me that this is a normal part of my life. I also went to visit a groundbreaking new startup called Slate. I got to check out their studio, see some prototypes and a look into our future. One of the coolest things about car design is that what you see in the studio is something that the public will see in four to 10 years. That is so neat! It’s like a Time Machine. I would love to contribute to car design in a meaningful way, so just putting that out there. I am a big believer in manifestation.
Bridge House (left and right), Dan Brunn’s personal residence.
DV: You launched your own firm in 2005. Where were you before that and how did you know it was time?
DB: The path towards the start of Dan Brunn Architecture can be traced to 1996. I was very persistent about getting an internship with my first year studio instructor at University of Southern California. My time with John Friedman, FAIA, and Alice Kimm, FAIA, afforded me the tools required to start my own firm. I was persistent, devoted and relentless for years, basically adding very little to my bank account but priceless experience to my professional knowledge bank. I had interned for five summers, and then followed that up with two solid years. During my time at John Friedman Alice Kimm Architects I was lucky enough to have worked at all sorts of projects and at so many many tasks. By the time I had finished grad school, things just fell into place. I was not looking to start my office when a potential client had reached out to me. I was designing projects while also teaching at the USC School of Architecture. After a couple of years it was time to fully invest into DBA, and now that is nearly two decades ago.
DV: Tell us a little about Dan Brunn Architecture and the firm’s philosophy.
DB: Two words come to mine: efficiency and empathy. I like to be very mindful of time and resources. So if we can design efficient projects with an efficient amount of time it’s a win. I say that each project is a representation of that moment and to not dwell on it too much. This is the best we can do right now, and another opportunity will arise. This is instead of belaboring and agonizing over every little thing till you’ve taken the passion out of it. That is a crucial attribute. It keeps it fun, and the entire staff interested in the project. Importantly it is also business wise.
Secondly, is empathy. This is not only towards my staff, but our clients and collaborators. It is also the mode of operation for our design philosophy. I coined the term “empathetic design,” years ago when an editor had asked me, “What is the secret to your success?” A very loaded and heavy question that I wanted to answer meaningfully. Through introspection, I realized that I think I do have a unique approach. So, when we start any project we really look at the client’s ask, as well as the context. Our response is a true representation of those attributes plus the current mood. There’s a lot more to it, but essentially when we present a project, our client should see themselves in it first, and secondly we layer the ethos of DBA.
DV: Some years ago, you embarked on an ambitious project–your own house: Tell us a little about Bridge House.
DB: It’s been almost seven years since I designed Bridge House, and more than five years since its completion. This project took so much out of me. Essentially, it is a house that is 210 feet long, by 20 feet wide. To put it into context, that is the length of a Boeing 777. The main building structure is composed of 89 percent recycled steel that was CNC milled. In order to realize the project, I had partnered with about 75 different companies that all contributed materials to its creation. The main objective was to exemplify that a passive, net-zero home doesn’t have to look “techy”, and can fit into its environs seamlessly. The house itself is a bridge, with a span of 65 feet over a natural brook that bifurcates the site at the midpoint. Oriented east – west, with the major glass facade exposure on the north, the house does very well protecting itself for heat gain. The roof is covered with solar panels, and the exterior building envelope is a deep cavity of SIP and closed cell spray foam with a layer of Cedar siding. What excites me about the house till this day is how it integrates with the landscape. It’s been wonderful to see the planting take a life of its own over the years, and the juxtaposition between nature and man made.
DV: Architects don’t typically follow trends, but they are always exploring design concepts. What are you exploring at the moment?
DB: I love that you say we don’t follow trends. I am not sure about that as a whole, but I know for myself, the sun is trending. I can rest assured it is rising in the east and setting in the west (well, in the northern hemisphere). Architecture is a vessel of light that we get to design for human interaction. Each of our projects really focuses on the sun and natural light. I try to stay clear of trending products, as they ultimately age a project. My objective is to create designs that endure the test of time. This is also true when we approach interior design. It can be a struggle sometimes, but I think in the end the results speak for themselves. Press, is looking for trends, so that’s been a challenge. Less is more is not what the media is looking for.
DV: Some architects are always looking for new materials, while some stick to the tried and true. Where do you stand on how you approach materials?
DB: Honoring what materials stand for. I was approached by a friend that is building a Tadao Ando house in Los Angeles, and he’s seen his works in Japan and is totally obsessed with the quality of concrete. However, I tried to explain that concrete in its inherent form is rough (hence brutalist architecture). It doesn’t want to be glass like, it doesn’t want to have crisp edges. Undoubtedly, he had many years of pain, as it was impossible to achieve the Japanese level of craft in Los Angeles. I like to let materials do what they want. So when we do concrete, we let it be rough. Be true. So I stay with some of the classics: steel, concrete, glass, stone and wood. However, these days there are some truly awesome new technologies. For instance the world of porcelain tile and slabs has taken off, which is far more sustainable than quarrying natural stone, and a lot more resilient. There are also incredible advancements in wood veneers and wall coverings that utilize reconstituted wood. You’d be hard pressed to be able to know, plus they are more resilient than their natural counterparts.
DV: Where do you see residential design in the next 10, 20 years?
DB: I have high aspirations for automation in the construction industry and the utilization of AI to make design more affordable for clients. As natural resources are becoming more scarce and expensive, homeowners will be looking for more environmentally friendly solutions. I would like to see some great standard plan homes that carry an energy rating (much like cars have EPA rating stickers).
My office is currently working with a group of 40 other architects on a program to rehabilitate Los Angeles after the fires. The initiative is aptly called Case Study 2.0, with an objective to design model homes that are more sustainable and contextually thoughtful. It’s very exciting! I am very hopeful for the future, and take great umbrage in leading the next few decades.
