An Albuquerque house is a characterful retreat amid an otherworldly terrain

For titans of industry in Silicon Valley, there is only a handful of enclaves where you might seek some R&R: Sun Valley, Lake Tahoe, Aspen – ‘the places bougie people go', one San Francisco-based entrepreneur in search of a family retreat says. ‘I didn't want that.' What he wanted was a place that was completely removed from civilisation, yet no more than a two-hour direct flight from the Bay Area. His quest led him to Albuquerque, New Mexico, where he encountered an untouched parcel of land set in the arid high desert. From a ridge on the site, he took in the view: rolling badlands, the silhouette of Placer Mountain and not a human in sight. ‘It's wild,' he says.

Discover an Albuquerque house in a mind-blowing setting

He had the land, now he needed an architect, one who could build him a contemporary interpretation of southwestern architecture – not a sterile modernist-inspired box. The work of Albuquerque-based architect Antoine Predock particularly stood out.

Predock, who established his eponymous practice in 1967, is considered a leading proponent of 'portable' south-west regionalism. When the entrepreneur called in late 2020, the architect (who died in March 2024 at the age of 87) said he wasn't taking on private residential work, but, intrigued, he hopped on his motorcycle to check out the desert property. ‘Antoine FaceTimed me from the site and was like, “We're going to build a house here,”’ says the client. ‘I'm like, this dude's crazy’ – and the perfect architect for the job.

The practice's projects start with an exploration of the site's physical and invisible properties. ‘Our work is largely about ephemera and poetry,' says principal Veree Simons. ‘Antoine always talked about a narrative thread that needs to continue through the physical form. We glean that magic by talking to the clients and doing a deep dive into the place's cultural and geologic history.'

With its otherworldly terrain, blazing sunsets, wild mustangs and equally untamed vistas, the site offered plenty of poetry. The house, therefore, would capitalise on the ‘Big View' eastward, as well as maximise space for family (the client and his wife have two young children) and visitors. The client had just one final ask: that the house be finished in time for his 40th birthday.

The project took the form of a concrete ‘spine' set along the site's ridge, from which five bedroom suites would radiate. At its heart would be the ‘amphitheatre' – a soaring living and dining space that would be a social hub. ‘It embraces the view,' says managing principal Paul Fehlau. ‘Antoine called it the “dinodactyl” because it looks like a dinosaur's back.'

The dinodactyl design also addressed the region's harsh climate. Temperatures here can fluctuate from below freezing to 37°C. There were also whipping 60mph winds and strong sunlight to consider. ‘The building's orientation to the east is important. You get a ton of heat and glare, and it can be very painful to have the main view facing west,' says Simons. Another challenge was the delicate nature of the land itself: the rocky terrain scars easily, meaning excavation for the building needed to be as light as possible, and some materials required transporting to the construction site with a wheelbarrow.

The resulting low-slung, single-storey dwelling feels simultaneously distinct from and part of the desert landscape. From a dirt road, it comes into view at the top of the ridge, its roof clad in steel shingles that will patinate over time to further blend in with the elements. The entry sequence, says Fehlau, was choreographed to create an element of surprise for visitors: ‘It gives you a little tiny preview of the view at the door, and then you walk in and your mind's blown.'

That jaw-dropping moment, which takes place in the amphitheatre, was achieved using an arced concrete ridge beam. And it's in this central room where family and friends congregate – for dinner, movie nights and meandering discussions by the fireplace. Glazed doors open on to an outdoor dining room and pool terrace. As the sun sets behind them, those watching are privy to a spectacular natural light show. ‘These are some of the most significant sunsets in New Mexico,' says Simons. ‘The clouds get lit up and turn super orangey and red and purple.'

And when it's time for bed, everyone can retreat to their own suites. It was important that each function as a standalone ‘casita', with its own bathroom, terrace and fire pit, to allow guests to feel like they've stolen off to their own secluded escape. The interiors are unpretentious – with concrete floors, dyed to match the property's bedrock, and modern furnishings from Carl Hansen & Søn, B&B Italia and BassamFellows – but still feel grand and generous, thanks to the soaring ceilings and pristine vistas. They also accommodate the client's growing art collection, which includes works by Judy Chicago (a friend), Constance DeJong (Predock's wife), Anna Park, Fritz Scholder and Rashid Johnson.

Shortly before his death, Predock went mountain biking with the client and was able to see the project reach completion. ‘He was hardcore all the way until the very end,' the client says with a laugh. Unlike Predock, the client is considerably less intense when he's at the house with his family, smoking a cigar and watching the sun go down. ‘My whole demeanour shifts meaningfully when I'm here,' he says. ‘I throw on a cowboy hat and change into a much chiller version of myself.'

predock.com