Residential Design

Vol. 3, 2017

A business-to-business magazine focused on the collaborative process and talented work of residential architects and custom homebuilders.

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Then they slowed down the view's reveal with louvered screens and doors on the exterior and reworked the entry hall to block straightforward sight lines. The louvers "pull the delay into the landscape," says Alan. "The way the en- try worked before was too immediate." Another consideration in this new arrangement was that the best views come from the harshest compass points. "We spent a lot of time trying to balance the fact that you're looking south and west to the water," Alan explains. Louvers help where they can, as do deep roof overhangs, floor-to- ceiling curtains, and the bountiful trees carefully preserved on-site. The louver motif continues down to the lower level, where it appears as railing for the stairs, fostering connection and separation at the same time. New window walls further lighten the formerly dark interiors, replacing the three-foot sill heights of the original house. The high-quality, German-made windows were a splurge, for sure, but they transform the space and offer an important upgrade to the original low-performing fenestration. Interestingly for a house of this cali- ber, the new windows are double-pane not triple. Here's where the firm's penchant for research informed the decision-making: "We did an analysis of what benefits we'd get from triple glazing, and the R-value system of dou- ble-pane pays back more quickly," says Lisa. "With the extra embodied energy needed to make triple panes and the extra structural support for the added weight, we determined the double-pane units would recover their cost more quickly, with minimal impact on perfor- mance." After all, Alan adds, "we're not living in Northern Canada." Complementing the new windows is a new bespoke interior of maple pan- eling. The panels harken to one client's Japanese heritage and were sourced from another parcel of forested land he owns. The architects treated the maple with a water-based urethane that makes it reflective. The floors and ceiling are bamboo, with a bleach coat to prevent them from ambering. The overall effect is a kind of "Scandinavian feel," the architects observe. Elsewhere on the main level, they closed off one side of the original double-sided fireplace to create an office. The team sourced filler stone from the same quarry used for the existing house and recreated the yellowish-brown mortar of the period, which is similar to what architect Paul Rudolph used on his Brutalist Yale Art and Architecture Building, Alan notes. Screen Gems Granberry clad the original house in brown-painted wood siding. In the spirit of that look, Lisa and Alan experimented with charring cypress boards using the Shou Sugi Ban method. "We charred it, then wire brushed it so it has a light undertone," says Alan. "It captured the brown gestalt of the period. And these days, there's so much acid in the air that real cedar turns black anyway instead of gray. We created it in our shop as an experiment, and Above: The waterfront house climbs down the hill rather than sitting atop it, preserving the modest footprint of the original house and coastline topography. CASE STUDY 44 RESIDENTIALDESIGNMAGAZINE.COM VOL. 3, 2017

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