Residential Design

Vol 1, 2018

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

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repeated visits to her grandparents' humble lake house over the years. And every day, it informs how she designs for the largely vacation community on the Cape and how she designs for herself and her family. "I'm absolutely driven by the sentiment, and how peo- ple live in these homes," she explains. "My maternal grandparents had this magnificent, tiny log cabin. It was so aesthetic and so beautiful. And I hold that in the cells of my body—what that smelled like, coming back year after year. It was so simple, but so visually rich and warm. And that repetition year after year was an important part of the experience. When I'm helping people on Left and below: Although Cataumet Cottage retains the basic footprint and organization of the 1970s existing house, everything about it is refreshed and enlivened. The new boys' bunk room is the heart-grabber. like northern Wisconsin. I already had a story to begin with because of the site I'd chosen," she says. But there were other filters at play as well, including her Masters in Architecture from Har- vard Graduate School of Design and her marriage to a landscape architect. "You take that log cabin and run it through architecture school, and what you get is a log cabin crossed with a warehouse," she quips. "I'm still there and I love it, I just wish it were more warehouse than log cabin at this point. "Growing up in Wisconsin, Frank Lloyd Wright was a huge influence— how his houses reached out into the landscape and made it space," she says. "And, of course having been married to a landscape architect for 25 years." From the start, Lucky Pines took its cues from the vegetation and colors of the site. Its three stories are supported by structural columns made from mature pine trees—their bark peeled, but the imperfections of lost branches left intact. Contrasting modern and rustic elements are everywhere—the shed roof, a second home, I think about, 'where is that richness and how are we going to make it so when the kids come back year after year, they have that sense of anticipation and excitement?' Every- thing revolves around making it so these houses grab your heart." This particular kind of heart sur- gery has nothing to do with imposing stylistic interventions, and everything to do with intentional design. "In every project, I'm trying to build a bench or a nook, like the one in my grandma's house," says Jill. "Those pieces—it doesn't matter if it's a modern space or a traditional space—they're what help make a house a destination." Lucky Pines In Jill's work, place is as important as space, and that's why, when she de- signed and built her own family's house in the late 1990s, she chose an especially poetic site—4.5 acres of pine woodland on a kettle-hole pond that recalled her grandparents' Wisconsin property. "The land grabbed me because it was "How are we going to make it so . . . the kids come back year after year?" —Jill Neubauer, AIA Photos: Meredith Hunnibell 14 RESIDENTIALDESIGNMAGA ZINE.COM VOL. 1, 2018 PRO-FILE DESIGN

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