Cho & Urano is an architecture firm in Salt Lake City, Utah providing a full scope of services on projects of various types and sizes, and engaging in architectural research through experiments and theoretical projects.

We started in 2020 after winning an international competition with our project House for Our Mothers. Prior to that we worked in offices in Los Angeles, Beijing, Seoul, San Francisco, and New York.

We approach each project as a continuing investigation into relationships between architecture, structure, and landscape, using sketches, models, and collected images.

Our research has touched on a variety of subjects, including houses, housing, urban design, and infrastructure. It has been exhibited in Seoul, Los Angeles, and New York, as well as at the International Architecture Biennale in Rotterdam, and has been published internationally in A+U, Shinkenchiku, and others.

Hansong Cho received a Bachelor of Architecture from the University of Seoul and a Master of Architecture from Columbia University’s Graduate School of Architecture, Planning, and Preservation. She has managed numerous residential and cultural projects in New York for the offices of Kyle May, Toshihiro Oki, and Julian von der Schulenburg. Her personal work has been exhibited at the International Architecture Biennale in Rotterdam, the Hunter East Harlem Gallery in New York, and was featured in a retrospective exhibition of Columbia University’s best housing projects produced over a 40-year period. She has served on design juries at Rhode Island School of Design, the University of Southern California, and Texas Tech University, and is an associate instructor at the University of Utah School of Architecture. Hansong is a licensed architect in the State of Utah.

Sasha Urano grew up in Honolulu and Salt Lake City. He holds a BA in Architectural Studies from UCLA, where he graduated with distinction, and a Master of Architecture from Princeton University. He has worked in a number of offices in the U.S. and Asia including Jones Partners Architecture, MAD, Mass Studies, and IDEO. Prior to co-founding Cho & Urano he spent four years as a project architect at Levenbetts in New York where he managed, among other things, a winning competition proposal for a public sculpture in Lower Manhattan and the renovation of a public library in Brooklyn. He is an associate instructor at the University of Utah School of Architecture.

  • Center for Bees featured in the Salt Lake Tribune, May 2023
  • Cho & Urano Receive Honorable Mention in Namdo Righteous Army History Museum Competition, 2022
  • House with a Corner Eave Wins Runner-Up Prize in Empowered Living Design Competition, 2021
  • Three Wall House and House with a Corner Eave Exhibited at AIA Utah Empowered Living Design Awards Ceremony, 2021
  • Salt Lake City Office Opened, June 2021
  • House for Our Mothers Published in A+U No. 592
  • House for Our Mothers Published in Shinkenchiku 2020:01
  • House for Our Mothers Awarded First Prize in Shinkenchiku Residential Design Competition, 2020


Principle Use: Residence
Project Site: Los Angeles
Total Floor Area: 4,800 sq ft.
The Eames House epitomized the marriage of modern domesticity with postwar industry, presenting a convincing image of livability and hominess—owing largely to its idyllic site and an impressive collection of tchotchkes—despite the industrial character of the building itself, which comprised two rectangular glass-and-steel boxes. It is understandable that a few years prior to the house’s conception, when Charles Eames sketched his idea of a house for Arts & Architecture magazine, he didn’t draw a house at all but people doing varoius recreational activities, avoiding architecture altogether (see What is a House?, Arts & Architecture, July 1944).

In this project, located less than a mile from the Eames House in Santa Monica, we explored an alternative formal strategy for a single-family house with an emphasis on the house itself and the objects inside it (cars, plumbing fixtures, chairs, wardrobes, bookcases, etc.). Taking the wall as the house’s primary tectonic element, we attached to it all the fixtures and furnishings of a family of four—each implying spatial needs such as floor area, clearances, adjacencies, and privacy—and contoured the wall on radial curves to fit within a legally allowable zoning envelope.

The result is a continuous wall, a closed loop, that curves in on itself to create circulatory flow and spatial hierarchy driven by the demands of the objects it carries. The threshold between rooms is blurred by the absence of operable doors. Where walls come together space contracts, and movement is directed more forcefully. Where they spread apart space expands to reveal discrete rooms and slower, less directed movement. Defining the centers and corners of rooms, circulation paths, and how each space might be inhabited is intentionally open-ended and left for the residents to perceive for themselves.

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