Lechner House

Marlowe came to us with a longlist they hadn’t earned yet. Six houses in. The seventh, Lechner House, was the one the principal believed would finally cross over: published, taught, photographed by someone whose name was a line on a CV instead of a line item on an invoice. The work was ready. The story around the work was not.

They believed an architect’s voice on social was not a content problem; it was a posture problem. Most firms either over-explain or refuse to explain at all, and the longlist editors at the publications they cared about could smell both at fifty paces. Lechner needed something more like a memo to a colleague (quiet, specific, professionally curious) and less like a feed.

They refused the brand-tone flattening that almost every architect-on-Instagram falls into. No “we love how the light plays on the travertine.” No emoji. No “drop a heart if this is your dream entry sequence.” If a sentence couldn’t have appeared in an editorial commission, it didn’t appear in the captions either.