Residential Design

VOL.6 2018

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

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on," he explains. The best panorama is to the east, so those canted windows not only showcase bay and city vistas, they also prolong the amount of daylighting that penetrates the building. On hot, sunny days, two "ventilation chimneys" usher heat up and out of the building with the aid of low-speed fans. "You don't see the technique used that much anymore," says Obie, "but it's very effective. Joe Esherick had a sky- light that opened for cooling his house, and it was a great idea." An earthen roof also cools the building, while allowing it to meld with the hillside. Substantial re- taining walls were necessary to provide fire truck access and turn-around clear- ance. Ultimately, Obie says, he really only had one area to place the footprint of the 4,000-square-foot house and 700-square-foot garage on the site. There's plenty of corrugated met- al inside and outside the house, and lots of warm woodwork and exposed structure—all hallmarks of Obie's work. "I really like the contrast and collaboration between our manmade materials and those that are completely natural—that range of materials is very interesting to me," he says. Obie's palette is also on view in the recent Dover Guest House in Jackson County, Oregon, which began life as a corrugated metal utility building. The building retains its metal cladding, but is reworked to include two bedrooms, a living area, and a kitchen. The interiors are as rich and detailed as the exterior is humble—woods, metals, and concrete blend into robust, articulated spaces. Glass garage doors raise to connect the interiors visually and physically with the outdoors. "It is our intent not to adhere to any specific style or look, but to be com- positionally inclusive with a variety of elements orchestrated into a single work," he writes in his project description. He puts it to us this way, "The idea, as we developed it: was we were just going to respond to things we needed to solve, without thinking they need- ed an aesthetic umbrella. We wanted to let them be a variety of things— contemporary mixed with heirloom and artifact. And we did that. When you look at it, it could look like a hodge- podge, but to experience it was rich and positive. That interests me more than belonging to any group or school." The 2016 Cope House climbs an extremely steep slope in Sausalito to capture a sweeping panorama of San Francisco Bay. Windows are canted to retain the fleeting eastern light as long as possible in the morning hours. Photos and drawings this page: Obie Bowman 14 RESIDENTIALDESIGNMAGA ZINE.COM VOL. 6, 2018 PRO-FILE DESIGN

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