Residential Design

VOL.3 2018

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

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"If you're interested in other decades, you can embrace the mystery of another time. I don't know what the '50s were like, but I do understand the '70s. There was a real mystery about what was influencing the era. There was an Asian influence, there was a dragon motif, there was the influence of alcohol that called for its own little shrine off the main living area. The original house was a tired, weird example from a strange era in our history. "But instead of immediately judging it, we try to calm down and listen," he continues. "That's what happened on this house. The clients hired us because we showed an appreciation for what was there. We knew we could amplify and sharpen some of the quirks—we knew what to remove and what to amend." The firm applied a similar process to the McGrath Residence, an in- tensely urban building from the late 1800s in a transitional neighborhood. The owners were also art collectors, drawn to the location for its walkabil- ity and proximity to the performing arts center. "This project, like many of the ones we do, was about how do we showcase the owners' art," says Dominique. And in the process of that exploration, the house itself became a focus of creative energy. "It was just a shell of a building and quite derelict inside. It was a sort of apartment building that our clients wanted to make into a three-story, single-family residence," she recalls. "Ultimately, it was like an archaeology project, as we started uncovering walls to find beautiful patina of brick. In the bathrooms, we let the plaster fall off the walls to show the brick underneath. "And then," she continues, "we had to solve the problem of the building's setback. It's right on the sidewalk. We wanted to create some privacy and shade. So we commissioned a metal screen for the front façade." Says Dan, "We worked with a great artist, Jesse Small. It's really an example of where art and architecture go hand in hand." And, it's a perfect example of the firm's deft balance of grit and polish. Open for Design Whether the project is new construction or a substantial remodel, DRAW's goal is for an authentic result that engages and moves people, a place for people to "gather and connect." Currently on the boards are market-rate multifamily projects, custom houses, and community and civic work, including a new airport terminal they're designing with SOM. The range is impressive, and DRAW feels up to the pace and ambition of the portfolio—even if it means Dan can't design as much as he used to. "Cross-pollination is our secret ingredi- ent," he says, then pauses for a moment of self-reflection: "When a firm reaches a certain size, you may quit being able to design as much. Or, you can challenge that notion, and suggest that while you might be designing less on the boards, you're designing how you document who's working on what, how you tell your story to others. I was influenced by the Eameses, who thought everything is open for design—including information systems." —S. Claire Conroy Above: Twisting the new Quackenbush house and studio off the street grid resulted in fantastic city views and some very happy clients. 13 VOL. 3, 2018 RESIDENTIALDESIGNMAGA ZINE.COM

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