Dwell Magazine - February 2017

Universal Technology
Smart, Intuitive Apps to

Serve All People
Community Matters
The Power of Design Can
Change the World
At Home in the Modern World
A New Beginning
Indoor/outdoor living
at a reimagined home built
into a hillside in
Mill Valley, California.
dwell.com
January / February 2017
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January/February 2017
“The thing about a tough climate is that you don’t
have many choices. Conditions favor a simple form
and one material against nature.”
Brian MacKay-Lyons, architect
Page 62
CONTENTS
52 62 70 78
features Moving Mountains Lights Will Guide Please Cincinnati Greener Grass
On a cascading slope You Home By leveraging a local Flanked by private gar-
with jaw-dropping views, A family’s strikingly angled community of artisans, dens and an arboretum,
a California architect house on a waterfront Ryan Santos, a graphic a Seattle property offers
rebuilds a Mill Valley resi- site in Nova Scotia makes designer turned chef, a flora-loving couple the
dence for a musician, the most of the tension is bringing his culinary chance to build an urban
his wife, and their 10,000- between hill and horizon. and design aesthetic home with a rural feel.
plus LPs. to a new restaurant in TEXT Amara Holstein
TEXT Zahid Sardar Over-the-Rhine.
TEXTAileen Kwun PHOTOS Christopher Testani PHOTOS Christopher Testani
PHOTOS Joe Fletcher TEXT Amanda Dameron
PHOTOS Brooke Shanesy
ON THE COVER: Judicious pops ABOVE: With its metal facade

of color enliven the deck of and distinctive ribbon of win-
a hillside home in Mill Valley, dows, the “Sliding House”
California (page 52). in Nova Scotia is a beacon
PHOTO BY Joe Fletcher for area sailors (page 62).
PHOTO BY Christopher Testani
9
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January/February 2017
36
114
CONTENTS
109
90
departments
13 Editor’s Letter
23 Modern World 42 Off the Grid 96 Houses We Love
16 Community
Ceramicist Ian Anderson’s Retired geophysicists in Beyond a simple concrete
abstract new mugs introduce Yorkville, California, request facade, a home in Malibu,
his updated approach to a net-zero home that is half California, is a model of
design: crowdsourcing. Next glass, half rammed earth. expansive outdoor living.
is a roundup of technology TEXT BY Lydia Lee TEXT BY Sarah Amelar
serving people with dis- PHOTOS BY Alan Nicholson PHOTOS BY John Ellis
abilities, and a Q&A with Todd
Bracher, the first American 46 Small Spaces 109 Prefab
to design “Das Haus” at imm A noted designer renovates a An architect couple build a
128 Sourcing cologne. An essay celebrates modest casita in Marfa, Texas. modular house in their native
Saw it? Want it? Need it? Buy it. the honey locust tree’s mod- Heather Corcoran
TEXT BY Spain and ship it for assem-
ernist DNA, and we close with PHOTOS BY Christopher Sturman bly at their new residence in
130 Finishing Touch an homage to British textile Brookline, Massachusetts.
Robo-furniture for small spaces. designer Lucienne Day. 90 Backstory TEXT BY Elaine Louie
Legal challenges, work stop- PHOTOS BY Christopher Churchill
36 Process pages, and neighborhood
A close look at the enduring grousing couldn’t prevent 114 Outside
art of Japanese joinery and a couple from building A rainwater filtration system
panelized construction at their modern dream home gives a retired couple’s house
Get a full year of Dwell at
Miya Shoji in New York City. in Raleigh, North Carolina. in Mexico an ecological edge.
dwell.com/subscribe. Mike Welton
TEXT BY Arlene Hirst TEXT BY TEXT BY Laia Garcia
PHOTOS BY Brian W. Ferry PHOTOS BY Chris Edwards PHOTOS BY Paul Cremoux
11
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editor’s letter
We are not afraid of change. To be challenged is the

clearest opportunity for progress, for discovering
design solutions that prevail over restrictions of
budget, time, and material. Through the projects
we feature, we present our vision for tomorrow—
one that is, in the words of our founder, Lara Deam,
distinctly optimistic.
With this issue, we present a refreshed look and
new narratives that seek a closer embrace of our com-
munity—the architects, designers, and enthusiasts
who have been with us since day one. No longer do
magazines present a one-way broadcast by control-
ling information and ideas. Today there is a conversa-
tion that is constantly unfolding, through online
channels and face-to-face communication. It is this
give-and-take that makes Dwell strong and relevant,
because we are listening and we are conscious of
what matters to you. This magazine belongs to us all.
American manufacturing is not dead. Craft is not
erased by technology. Good design matters, and it
helps us live better lives. Our art is self-improve-
ment, and it comes with a promise: We are only
undone if we allow ourselves to be. Do not be silent.
Join us in conversation, help us celebrate what
makes us different, what makes us weird. Work with
us to identify the truly pressing issues in the world
of architecture today, be it affordable housing and
furnishings, the future of urban development, the
need for domestic infrastructure, the call for regula-
tions related to sustainable materials and resilient
design principles. Help us shape the narratives that
mean the most, and help us direct our resources so
that we may report on the issues of our time.
Join me at dwell.com/new-beginning, and share
A New your point of view. Tell us what you think of our

redesign, of the opportunity we all have to make a
difference in the modern world. We are listening,
Beginning and we need your voice. We are not afraid of change.

We welcome the challenge.
Amanda Dameron, Editor-in-Chief

amanda@dwell.com / @AmandaDameron
DWELL JA N UA RY / FEB R UA RY 2017 13

Dwell San Francisco Dwell Editorial Dwell Digital Advertising
901 Battery Street,
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Phone 415-373-5100 Amanda Dameron Vice President, Product Director, Sales Operations
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Dwell New York Camille Rankin Vice President, Design Brand Director / Northwest
192 Lexington Avenue, Senior Editors Stephen Blake Meredith Barberich
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Lara Hedberg Deam Content Coordinator Director of Project Modern Market East
President / CEO Quintel Gwinn Management Jenny Schlesinger
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dwell asks
Why Buy Real vs. Fake Furniture?

Rip-offs of classic lighting and furniture are everywhere.
Yet even as the imitators multiply, and their prices lower,
the allure of the real thing remains irresistible.
We asked the design community: Why should people buy
authentic furniture instead of knockoffs?
The same reason you
buy a good pair
of jeans—authentic
products gain quality
with age; knockoffs
only get cheaper.
@_paigemayer
on Twitter
If the authentic piece

genuinely doesn’t offer
any advantages over a
knockoff, then it doesn’t
live up to its name.
@ClaudioAlbertin
on Twitter
COMMUNITY
Real furniture is the prod- I buy real furniture for

uct of designers’ intellect. the same reasons I pay
PHOTO: COURTESY OF KNOLL INC. (TULIP TABLE). ILLUSTRATION: PETER OUMANSKI

The research, develop- for my music: It’s part of
ment, innovation, and an experience of authen-
ingenuity are worth the ticity that values the
cost. They should also designer/creator. Real Is the argument against
be worth our respect. furniture points beyond “exporting jobs” an
Diana Samper on Dwell itself and is not simply argument for “authentic
a thing to be consumed. design”?
Norbert Haukenfrers Jim Meredith on Dwell
on Dwell
I appreciate the quality of materials and the investment

factor in original pieces. I have a knockoff of an Eames lounge
that, while it looks nice and is relatively comfortable,
doesn’t hold a candle to the beauty and luxury of an original.
Wendy Treverton on Facebook Designer Oji Masanori shares
snapshots of the simple ceramics,
Buying knockoffs removes the incentives for designers tablewares, and home goods
and manufacturers to create new products, leading toward the he makes, as well as the places he
goes to refuel, like his favorite
day when there will be nothing new worth knocking off. cafe in Hokuto, Japan.
Mike Dowd on Facebook @oji_masanori on Instagram

EXPERIENCE MODERN FIRE | KOMODO CORTEN
+PZJV]LYV\YJVSSLJ[PVUVMV\[KVVYÄYLWP[ZÄYLWSHJLZHUK[PSLZH[!
paloform.com cPUMV'WHSVMVYTJVT
contributors
Photographer Photographer Illustrator Writer Illustrator
Joe Fletcher Brooke Shanesy Peter Oumanski Aileen Kwun Brian Cairns
Moving Mountains Please Cincinnati Dwell Asks Moving Mountains Leveling the Playing
page 52 page 70 page 16 page 52 Field page 26
Oakland photographer Joe Brooke Shanesy is an Born in St. Petersburg, Aileen Kwun is a senior Brian Cairns studied
Fletcher has had his work Ohio-based editorial and Russia, and based in editor at Dwell and graphic design in his
featured in Wallpaper*, commercial photographer New York, Peter Oumanski co-author of Twenty Over native Glasgow, Scotland,
The New York Times, and who specializes in docu- was an art director and Eighty: Conversations on and has produced work
System Magazine, as menting travel and people. designer at several publi- a Lifetime in Architecture for Nike, Ridley Scott &
well as in the books Ranch For this issue, she cap- cations before shifting and Design (Princeton Associates Films, Hyatt
Houses and Cape May, tured upstart Cincinnati his attention to illustrating Architectural Press), a Hotels, and The New York
COMMUNITY
both published by Rizzoli. restaurateur Ryan Santos full-time. His work has collection of oral histories Times. For a story on
While photographing a Mill as he foraged and har- appeared in Condé Nast from legendary design how apps and smart
Valley residence designed vested ingredients and Traveler, Wired, The New figures from the past devices can help empower
by architect Chris Deam, prepared for the debut of York Times Magazine, century. Her focus is art, seniors and people with
he got to enjoy a sample his new eatery in Over- and Esquire. Oumanski architecture, and design, disabilities, Cairns chose
of the homeowners’ vast the-Rhine, Please. It all says he has a newfound but a visit to the Mill Valley to show “what the tech-
record library. “They culminated when Santos appreciation for Eero home of Ellen Corrigan nology enables people to
played some of their finally arrived in the Saarinen after illustrating and musician Jack do rather than the tech-
amazing, eclectic vinyl kitchen. “The most memo- the designer’s Tulip Table Dangers revealed her nology itself,” he says.
collection as we worked,” rable part was seeing Ryan for this issue. “I like the inner audiophile. “The “Having cared for family
says Fletcher, who in action,” Shanesy says. design, but it requires home is built around members with similar
describes one album’s “Watching him and his a bigger space,” he notes. an insane collection of issues, I was aware of how
genre as something like chefs at work elevates the “I have a few Eames and vintage synthesizers,” smart technologies can
“sounds of science fiction experience. Their excite- Bertoia pieces. A smaller she says. “Jack had one improve the lives of both
from the ’50s.” ment and culinary curios- Tulip Table would defi- that was covered with the caregiver and the
ity become contagious.” nitely complement those.” a grid of 7,200 circular person being cared for.”
Oumanski provided addi- inputs that work by stick-
tional illustration through- ing a little peg into them—
out the issue. like a game of Battleship!”
“What was unique about the Corrigan

residence was the roof. Its unadulterated
geometry made for a beautiful form
against the complex view.” —Joe Fletcher, photographer

photos we love
From Around the Web

Examples of great design thinking reach us
in many ways. Whether we find them attached in an email,
shared on social media, or uploaded to dwell.com,
we always welcome fresh ideas and notable talent.
COMMUNITY
PHOTOS: READ MCKENDREE (EXTERIOR); MATT TITONE.
According to surf culture it’s essentially any place how pro and amateur surf-
blog Indoek, a “shack” can where wave-riders reside ers live when they’re not
take many forms, from a on terra firma. Surf searching for swells. The
lean-to on the beach to an Shacks, an upcoming book will be released by
apartment in the city, but book from Indoek, shows Gestalten in March.

THE IRRESISTIBLE BEAUTY
OF MODERN, MINIMALIST
DESIGN – THE COMPOSED
FAUCET COLLECTION.
IBS 2017 – Booth #S3440
Phil Kean Design | Jeff Davis Photography

Railing by AGS Stainless.
Custom-designed, prefabricated and shipped to
the job site ready-to-be-installed.
AGSstainless.com/Dwell | 888-842-9492
Rainier cable railing with flat stainless steel top rail Copyright AGS Stainless, Inc. 2017
Smart Tech: Addressing Disabilities 26 Essay: The Modernist’s Tree 30
Profile: Todd Bracher 32 Archive: Lucienne Day 34
Modern World
Mean Mug
Ceramicist Ian Anderson is expanding
PHOTOS: AANDERSSON
overseas and leveraging the web to make design

more democratic—but first, coffee.

modern world TEXT BY
product Luke Hopping
“My designs are intended to have a universal appeal.

The Shapes collection is a perfect example of
this—they’re just forms, but they make the everyday
experience of drinking a little more interesting.”
Ian Anderson, designer
Big news may call for a toast, *92A6DO2?6H=:?6@7ƎG6>F8DO

but usually it demands caffeine 6249H:E92DEC:<:?886@>6EC:4
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PHOTOS: AANDERSSON
Ian Anderson of AANDERSSON half circle, each mug is held by a

studio recently unveiled Shapes, sharp, squiggly, or abstract handle.
a collection of five porcelain mugs Beginning in 2017, the designer will
finished in matte and glossy glazes announce two new collections annu-
in a range of shades from black to ally, incorporating ideas sparked by
white. Rather than the conventional his new content crowdsourcing site.

Introducing Modern
by Dwell Magazine.
Be inspired by a new brand guided
by the idea that a modern home should
be a comfortable one.
Arrives December 27.

Target.com/modernbydwellmagazine
only at
modern world TEXT BY ILLUSTRATIONS BY
smart tech Kelly Vencill Sanchez Brian Cairns
Leveling the Playing Field

From wearable sensors to accessibility apps,
smart technology is transforming the lives of seniors
and people with disabilities.
Advances in technology are

meant to make us more pro-
5F4E:G62?567Ǝ4:6?ENFE7@C
some users, technology doesn’t
just make life more convenient;
:E492?86DE9682>66?E:C6=JN
J7@4FD:?8@?E96:?5:G:5F2=kD
abilities, specially devised
devices as well as familiar apps
are helping break down the
physical, social, and attitudinal
barriers that have traditionally
made access to state-of-the-art
tools an insurmountable
492==6?86N6C62C6D@>6
innovative solutions designed
E@=62G6?@@?6369:?5N
TH I N K O UT LO UD
WHO: People with autism, cere-
bral palsy, ALS, and other ver-
bal communication challenges
WHAT: The Smartstones team
is developing a groundbreaking
way to give a voice to those
unable to speak by connecting
the company’s :prose mobile
app to EMOTIV’s wireless EEG
headset or a handheld sensory
device to translate movements
and brain waves into spoken
A9C2D6D2?54@>>2?5DN
E QUA L ACCES S
WHO: Wheelchair users and
people with mobility challenges
WHAT: With the Access Earth
app, wheelchair users can locate
and rate accessible locations
and share that information
H:E9@E96C446DD2CE9FD6CDN
conversational American Sign J O GG I N G M E M ORY quality of life for those with
S I G N O F TH E TI M ES #2?8F286_*#`NF3365j*# WHO: Those with dementia, 56>6?E:22?5E96:C=@G65@?6DN
WHO: People communicating for the people,” the program memory loss Accompanied by voice narra-
with users of sign language aims to bring together the Deaf WHAT: The GreyMatters tablet tion and favorite music selec-
WHAT: Graduates of Gallaudet and the hearing communities app is a customizable inter- tions and games, it allows users
University in Washington, with more than 800 signs, as active storybook designed to and caregivers to relive per-
NNO56G6=@A65E96ASL App well as instructional videos and stimulate memories, encourage sonal experiences by uploading
to introduce and teach FD67F=A9C2D6DN communication, and improve 2?5DE@C:?8A9@E@DN

Introducing Modern
by Dwell Magazine.
Elevate your entertaining with smart-stacking
serving pieces, streamlined bar tools and
comfortable dining furniture.

only at
modern world
smart tech
WO RD G ETS A RO UN D
WHO: People with visual
impairments
WHAT:JD?2AA:?82A9@E@
with the touch of a button, the
KNFB Reader app for iOS and
Android devices translates
nearly any printed document—
from books, mail, receipts,
memos, and class handouts to
signs and menus—into speech
2=>@DE:?DE2?E2?6@FD=JN
TR AVE L FAR
WHO: Elderly residents of long-
term care communities
WHAT: Developed by MIT grad-
uate students to minimize feel-
ings of isolation and depression
and encourage engagement
among the elderly in long-term
care facilities, the virtual reality
Rendever headset enables
wearers to travel the world or
even return to their childhood
home via three-dimensional,
W568C66@@8=6$2ADƎ=>DN
CO M MAN D CE NTE R
WHO: People with
physical disabilities and EASY ST RE ET ReSound, Oticon, and others proper nutrition and spark
visual impairments WHO: People with physical stream sound wirelessly and mealtime interaction in seniors
WHAT: 2?5DW7C66G@:46WC64@8- and visual impairments or enable users to better hear :?C6D:56?E:2=D6EE:?8DN
nition tools like Amazon Echo motor challenges D@F?54@>:?8E9C@F89E96>N
and Google Home offer those WHAT: A pair of designers SA F E A N D S OU N D
capable of giving voice com- in the UK have developed an RE A DY TO ROL L WHO: Seniors living alone;
mands the ability to manage urban prototype they call WHO: Wheelchair users individuals with dementia
tasks like playing music and Responsive Street Furniture, WHAT: Apple Watch’s Workout and Alzheimer’s
audio books, sending text mes- which detects pedestrians’ and Activity apps now offer WHAT: Wearable sensors and
sages, listening to the news, needs via signals from their >2?F2=H966=492:CƎE?6DD smart watches like those from
accessing computer searches, A6CD@?2=6=64EC@?:456G:46N tracking and wheelchair- Lively, CarePredict, and
2?54@?EC@==:?82D>2CE56G:46N Users specify the services they DA64:Ǝ4H@C<@FEDOH:E9jC@==l SafeWander wirelessly connect
require, and sensors respond goals and sensors that take those living alone to emergency
R E A D O FF automatically: brightening into account factors like pace help 24/7, offer medication
WHO: People with visual street lights, allowing more 2?5E6CC2:?EJA6N reminders and daily step
impairments time to cross the street, counting, and enable caregivers
WHAT: Screen readers like unlocking benches for sitting, S M E L L TE S T and family members to
TalkBack for Android and 42==:?8@FE?2>6D@73FD:?6DD6DN WHO: People with dementia, monitor everyday activities,
Apple’s VoiceOver make it memory loss =:<6D=66A:?82?562E:?8N
possible to access your device C LEAR AS A BE LL WHAT: To offset the diminished
even if you can’t see the screen, WHO: People with hearing appetite and weight loss that WA KE - U P CA L L
enabling users to do every- impairments 27Ə:4E>2?JA6@A=6=:G:?8H:E9 WHO: People with hearing
thing from sending and WHAT: 62C:?82:5D92G6 dementia, Ode introduces a impairments
receiving texts, reading emails, evolved from simple sound- menu of olfactory stimuli WHAT: The TCL Pulse is a
and checking battery level to >28?:Ǝ42E:@?E@@=DE@A6CD@?2= 367@C6>62=E:>6DN&5692C- =F6E@@E9W6?23=65G:3C2E:@?
D6=64E:?82AADNFDE@>:K23=6 j962C23=6DlE92E42?:?E6C24E nesses the sense of smell and 2?52F5:3=62=2C>N,D6CD42?
D4C66?>28?:Ǝ42E:@?62D6D with connected Android the role it plays in emotions adjust the degrees of vibration,
FD67@CE9@D6H:E9=@HG:D:@?N 2?5:&*56G:46DN$@56=D3J and memory to encourage D@F?5O@C3@E9N

Introducing Modern
by Dwell Magazine.
Look forward to heading outside with
lounge chairs and tables designed to blend
seamlessly into the landscape.

only at
essay Ron Henderson
The honey locust tree Anyone who has toured on the limestone soils and
became prevalent in America’s midcentury modern stream banks of southern
Midwest horticulture after
D:89EDH:==C64@8?:K6E969@?6J Indiana and southern Illinois.
the demise of the American
elm tree due to Dutch elm locust tree (Gleditsia triacan- It was here, in the Midwest, that
disease in the early 20th thos) at once. It can be seen E969@?6J=@4FDEƎCDE42F89E
century. Loved by land- around the Illinois Institute of E962EE6?E:@?@7E963FC86@?:?8
scape architects Alfred +649?@=@8J:?9:428@O@FED:56 >@56C?56D:8?>@G6>6?EN
Caldwell and Dan Kiley for
its slender trunk and
E96$:==6C@FD6:?@=F>3FDO In his 1939 book, Siftings,
thorny branches, the tree ?5:2?2O2?56G6?:?E96962CE Prairie School landscape archi-
is a natural foil to some of Manhattan at Paley Park. tect Jens Jensen wrote, “There
of the most highly regarded +969@?6J=@4FDEkD?2E:G6 :D246CE2:?C6Ǝ?6>6?E23@FE
buildings of the era,
C2?866IE6?5D7C@>H6DE6C? E9:DEC66O2?5:?:ED8@=56?W
including S.R. Crown Hall
at the Illinois Institute Appalachia to the Great Plains, J6==@H2FEF>?4@=@C:E8:G6D
of Technology (above). H:E9E969:896DE4@?46?EC2E:@? 2D@7E=:89EE@E96=2?5D42A6Nl
The Modernist’s Tree

America’s first patented shade tree is as high design
as a plant can be.

“That there is such a thing as the ‘best tree’
is an illusion, but that doesn’t stop the claims from
being made. Gleditsia traicanthos inermis
was in its day considered one of the best trees.”
Dr. Gerald Klingaman, horticulturalist
Jensen further described the

honey locust’s common situa-
E:@?2=@?8E966586D@77@C6DEDP
“Down in central Illinois the
honey locust is at home, and in
some sections is known as ‘The
Farmer Wife’s Tree.’ This name
92D366?8:G6?E@:E3642FD6@7
the fact that . . . it was the farm-
er’s wife who went into the
H@@5652C62D2=@?8E96AC2:C:6
C:G6CD7@C=@4FDED2A=:?8DNl E
was beside such a country
PHOTOS, FROM LEFT: RON HENDERSON; EZRA STOLLER/ESTO; UNIVERSITY OF NORTH CAROLINA HERBARIUM; RON HENDERSON
76?46C@HE92E=7C652=5H6==O
who had worked with Jensen,
A=2?E65D@>6@79:DƎCDE9@?6J
locusts at his Wisconsin farm
in the early 1940s.
2=5H6==3642>62AC@A@?6?E
of the species and later shared
:EH:E9$:6DG2?56C)@96H96?
he collaborated with the mod-
ern master to create “a campus Around the same time, Top: Dan Kiley famously 8C@G6DO":=6J49@D6E@2CC2JE96
:?2A2C<l2EE96 ==:?@:D 2?@E96C:>A@CE2?E56G6=@A- planted two rows of honey tree in an orderly allée of two
locusts at the Miller House
?DE:EFE6@7+649?@=@8JN >6?EH2D@44FCC:?8H:E9E96 equally spaced rows.
in Columbus, Indiana. The
2=5H6==kDA=2?E:?8D496>67@C honey locust. In 1949, a thorn- arbor flanks the western By the mid-1960s, the honey
*N)NC@H?2==:D56Ǝ?653J =6DDOD665=6DDG2C:6EJ@7E96 side of the Eero Saarinen– locust had become common-
:CC68F=2C=JDA24659@?6J species was patented by the designed home, echoing A=246N@H6G6CO@?6=2DEAC@;64E
locusts underplanted with haw- *:636?E92=6C@>A2?J:? its geometric lines. from this period, far from its
E9@C?>2DD6DN2=5H6==>2J Dayton, Ohio. Gleditsia triacan- Above: The fruit of the tree is Midwest seedbed, made perfect
92G6AFCA@D6=JD6=64E65E96 thos inermis, as it is known, the long, twisted seed pod, use of the tree’s sinuous trunk,
which forms in late summer
>@DE8?2C=JDA64:>6?D2EE96 H2DE96ƎCDEA2E6?E65D9256 A:4EFC6DBF63C2?49:?8DECF4-
and turns from green to red-
nursery so that their form tree in North America, and at dish brown as it matures. EFC6O2?53C:89E72==7@=:286N
would stand in sharp contrast the peak of its popularity, The pods emit a sweet aroma At Paley Park, amid the bustle
E@E968C:5565@CE9@8@?2=:EJ@7 75,000 were sold each year. when they ripen and are of midtown Manhattan, Zion
E9642>AFDA=2?2?53F:=5:?8DN EH2DE96?6HG2C:6EJ@7 sometimes eaten by livestock VC66?DD@4:2E6D56D:8?652
and wildlife.
9@?6J=@4FDEE92EE96:?ƏF6?E:2= D@@E9:?8@2D:DH:E9E23=6D2?5
=2?5D42A62C49:E64E2?":=6JO Above right: The honey chairs, where pedestrians can
locust is a deciduous tree,
H9@56D:8?65>@C6E92?O >:?8=636?62E92Ǝ?6=JE6I-
with a mix of pinnately and
AC@;64EDH@C=5H:56OD6=64E657@C bipinnately compound leaves tured canopy of honey locusts.
some of his best-known work, that turn bright yellow before @HH@?56C7F=O2=5H6==925
:?4=F5:?86C@*22C:?6?kD they fall in autumn. earlier mused, to see the world
$:==6C@FD6:?@=F>3FDO Ǝ=E6C65E9C@F89:ED=62G6DOj2
Indiana. In contrast with kind of mysterious continuum
2=5H6==kD:CC68F=2C=JDA2465 @7=:89E2?5D925@HNl

modern world TEXT BY ILLUSTRATION BY
Profile Amanda Dameron Sam Kerr
The American Way

New York–based designer Todd
Bracher represents the United States at
an important furniture fair in Germany.
It’s been said that contemporary Good point. So how did you
American design isn’t highly approach the design process?
regarded in international circles. I just started thinking about
You are the first American to be how I live and then I realized:
tapped to create the annual con- How I live isn’t necessarily how
ceptual installation “Das Haus” in I want to live. I think that’s the
Cologne, Germany. Why do you way most people feel. Maybe
think they wanted an American? that’s American. Maybe that’s
When they approached me, human. I think that’s what
they said they were interested frustrates me. Let’s say I buy a
in seeing whether an American house, and there’s a dining
would have a different spin or room in it because it’s a legacy.
different point of view than It was already there. The house
Europeans might have on the was built and it wasn’t built for
house. I thought, “Well maybe, me. It was built for some life,
maybe not. I don’t know.” I >2J36Ǝ7EJ@C29F?5C65J62CD
struggled, personally, with ago. We’re forced to live with a “I started thinking “Das Haus” was launched as a
being American—I’m not sure legacy. I don’t need a dining about the basics of platform for designers to pres-
what that really means, and I room, because I don’t host din- ent their version of an ideal
don’t know if any American ners, so why do I have a dining living, instead of home. Is it a good exercise?
really does. Maybe that’s being table and eight chairs? That’s trying to deal with The program is fascinating
American, the struggle with wasted space. In New York, we all the stuff that we because it’s much more than
that. I think being a New Yorker don’t have that type of luxury. just a conversation with inter-
is very different from being “What do I really need?” is a have. I think that national buyers. The show’s
from Kansas or being from question that interests me. I might be more of creative director, Dick
Arizona. Everyone is so differ- need peace and quiet. Where’s an American point Spierenburg, has elevated it to a
ent. How can you say how an my quiet room? I’d rather have 4@?46AEF2=A=246E92EkDƏ:AA65
American lives? that than a dining room. of view, about between consumers and the
oversaturation. trade. It’s an interesting oppor-
It’s ridiculous. I tunity, but it’s certainly not an
easy audience to conjure.
Each January, the imm cologne attendees stream in and out of the tried to find a way,
furniture fair in Cologne, Germany, space. Previous designers have
unveils “Das Haus,” a conceptual included Luca Nichetto, Louise through Das Haus, Did you get any direction?
installation by a world-renowned Campbell, Neri & Hu, and Sebastian to reduce things to Dick had some good points. He
designer or architect. Over the Herkner. This year, for the first time, D2:5Oj0@F?665E@Ǝ?5E9632=-
course of six days, hundreds of an American makes a debut. the most essential.” ance where folks can still proj-
ect life into this house.”
How did that resonate with you?

The home is about mind, body,
and soul, so I call it a “suste-
nance house.” Good furniture is
meant to facilitate function,
and it’s for each of us to decide
the right pieces for thinking,
resting, eating and sleeping.

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archive Camille Rankin
Lucienne Day, born in Surrey pets, ceramics, and silk mosaics.

in 1917, was one of the leading Though sometimes referred
lights of modern design in post- to as the Eameses of the UK,
war England. Though she could Lucienne and her husband,
easily have been mistaken for a furniture designer Robin Day,
1950s homemaker, Lucienne was pursued separate careers and
anything but. A groundbreaking collaborated only a handful of
textile designer, she created times, notably on aircraft inte-
sunny yet sophisticated prints riors for BOAC in the 1960s.
for the masses, becoming a Lucienne, who died in 2010,
household name in the process. would have turned 100 on
Her breakthrough pattern January 5. The centenary is
was Calyx, a plant-inspired being marked with a year of
design shown at the Festival of exhibitions and events in the UK
Britain in 1951. A huge success, that will reveal works and photos
it led to a decades-long partner- never seen before, bringing back
ship with Heal Fabrics. But Day into the public eye the remark-
H2DAC@=:Ǝ4:?@E96C2C62D2D able accomplishments of this
well, including wallpaper, car- midcentury modern woman.
All in a Day’s Work

The lifetime oeuvre of British textile designer Lucienne Day
is celebrated in her centennial year.

modern world
archive
Clockwise from opposite, top left: optimistic prints were an antidote Day’s home on Cheyne Walk in 1970s, searching for another outlet
Lucienne Day’s Black Leaf tea towel to the austerity of World War II London’s Chelsea, furnished with for her creativity, Lucienne began to
for Thomas Somerset (1959) and and were widely embraced as a fresh their designs. The couple, who produce one-of-a-kind silk mosaics,
Herb Antony fabric for Heal’s (1956) alternative to traditional floral met at the Royal College of Art in like “Meander 3” (1990). Lucienne
exemplify her fascination with fabrics. Two views of the open-plan 1940 and were married in 1942, poses with her Cairn terrier on
modern art and plant life. Her bright, living room in Robin and Lucienne lived there for nearly 50 years. In the the terrace of the Cheyne Walk house.
COLLECTION OF JILL A. WILTSE AND H. KIRK BROWN III, DENVER (TEA TOWEL
PHOTOS: ALL COURTESY OF THE ROBIN & LUCIENNE DAY FOUNDATION.
AND HERB ANTONY); PHOTO BY JOHN HADDOCK (PORTRAIT)
35
process TEXT BY PHOTOS BY
Arlene Hirst Brian W. Ferry
mainstay Miya Shoji continues to hone

the art of Japanese screen-making.
Shojis, employed as room dividers, and a single wood frame, bonded together
window coverings, and doors, have long with a rice-based glue.
366?A@AF=2C7@CE96H2JE96JƎ=E6C=:89E Miya Shoji, a store located in New York’s
while still providing privacy. Their use Chelsea neighborhood, started to produce
in Japan dates back to the 12th century, handcrafted shojis in 1951, and today excels
but they weren’t widely introduced in at making a contemporary double-sided
the Western world until the mid-1850s. version. When Hisao Hanafusa, the store’s
The quintessential shoji—it means “screen” current owner, arrived in America in 1963,
in Japanese—is made of translucent paper it seemed to be his destiny to work there,

Founded in 1951, Miya Shoji uses tra-
ditional Japanese furniture-building
techniques to craft its signature
shoji screens (opposite). Carpenters
at its 3,000-square-foot facility in
Queens fashion lap joints and tenons
by hand to fit the pieces together.
37
Led by Hisao Hanafusa, 80, with
help from his son Zui, 45, Miya Shoji
also makes tansu chests, tatami
platform beds, and other furniture.
Nomi, or Japanese chisels, are some
of the most-used tools of the trade.

process
HOW TO SHAPE A SHOJI, STEP BY STEP
Every order Miya Shoji receives is different,

but the procedure follows the same rough pattern each time.
Ǐ ǵTHE FIRST CUT Ǐ 2

After selecting the lumber,
craftsman Naotaka Hamada
brings it to a table saw, where
he slices the pieces he will
need to construct the screen.
ǵSHAPING THE PIECES

Next, to ensure that every single
piece will be perfectly straight
and square, Hamada puts them
through a jointing jig to guar-
antee complete uniformity.
ǵNOTCHING THE WOOD 4

Making the screen is like put-
ting together a puzzle. Here, an
attachment on the table saw is
used to cut the grooves that will
be needed for the final assembly.
ǲ ǵCREATING A CHANNEL
Using a Japanese handsaw, the
woodworker, in just one stroke,
cuts a channel into the wood,
creating a slot for the rice paper.
Ȃ ǵREADYING THE BLADE Ȃ 6

Held in place by a wood frame,
whetstones with varying grades
of fineness are used to sharpen
the blade.
6 ǵFINISHING THE WOOD

Hamada carefully pulls a
plane along the wood’s surface.
He will use only one stroke
to make sure that the surface
is even. It is never sanded.
ǵASSEMBLY 8
Before inserting the rice paper,
Hamada connects all the pieces
by hand, then taps them in place
with a hammer.
8 ǵTHE FINAL STEP

The addition of the rice paper,
carefully slid into the inner
channel of the assembled piece,
completes the screen. The whole
process takes a week on average.
“My father calls woodworking ‘action meditation.’

He says that shojis bring nature back into the house.”
Zui Hanafusa, craftsman
39
The saw blade, whisk broom, and Miya Shoji are handled by one per-
aligning board that the craftsmen use son. “You can’t have two presidents
to create screens hang on a shop wall or two generals,” Hisao explains.
(left). The plane and blades (below) “It doesn’t work.” He also eschews
were given to Naotaka Hamada by technology, doing all the draw-
his uncle, a master Japanese artisan. ings and blueprints by hand. “The
The marking gauge (below right) brain is faster than the computer,”
is called a kebiki. Many projects at he declares.
WHAT GOOD SHOJIS HINGE ON since he had been taught woodworking in

Kyoto. While he came to New York intend-
To attach the screens, Miya Shoji uses Soss hinges, which are invisible when closed.
ing to pursue a career as an artist, he had
Unlike the conventional variety, they have no protruding pins or hardware,
and thus become virtually flush, leaving little, if any, gap between the panels. no problem fusing craft and creativity.
“You can have both,” he explains. “My main
work is painting. Miya Shoji is my hobby.”
STEP ONE
He has had success in both. His paintings

are in the collections of the Guggenheim
Museum in New York and the San Francisco
Museum of Modern Art. Meanwhile, his
business, which he bought in 1970, has
steadily expanded. The workshop was orig-
inally located in the store, but in 1980,
Hanafusa moved production to a former
82C286:?(F66?DOH96C696?@H92DƎG6
carpenters working with him and his son
Zui, who went to school for graphic design.
Hanafusa has a rather unorthodox stan-
STEP TWO
dard for hiring workers, refusing to take on

anyone who loves only woodworking; they
must have another passion. “Otherwise
they would put their personality into the
ILLUSTRATION: ERICA BONKOWSKI
piece,” he explains. “I don’t want anyone’s

personality, not mine either.”
+@>2<62D9@;:OE96ƎCDEDE6A:D82E96C-
ing the wood, ideally pieces taken from
trees grown in the center of the forest.
The Hanafusas explain that while the out-
side of the tree may be twisted by the wind,
the inner core may be continued on page 129
40
process
The Hanafusas’ specialty is the

double-sided shoji, which has a
removable second frame that sand-
wiches the paper. The style has
the added benefit of being sturdier
than classic single-sided shojis.

off the grid TEXT BY PHOTOS BY
Lydia Lee Alan Nicholson
Geological Formation
A net-zero house in Northern California
ĚƆÓſƙĔĘñſƆƙĚļķŇſÓǘǞƆƙĔļŇļÓŬ
Contrasting expanses of glass and

rammed earth wrap Bill Gawthrop
and Diane Taylor’s home in Yorkville,
California. The couple’s bedroom
Bill Gawthrop and Diane Taylor might “fracture” near the front door that shows is located at one end of the house
and their offices are at the other, with
live in the only house that is deliberately how the earth could have shifted. This
an open-plan kitchen, living room,
designed to look as though it has been nod to geological stress is appropriate, and dining area in between. The bed
through an earthquake. Their home, given the couple’s professions: They are frame is Gawthrop’s own design.
located on a ridge in Northern California’s geophysicists, now retired. Overall, the
Mendocino County, has a diagonal 2,700-square-foot house is a triumph

new
DESIGN & FUNCTIONALITY

IN PERFECT HARMONY
GROHE K7® FOOT CONTROL
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of a professional kitchen faucet, the K7® Foot Control turns on with a slight tap of the foot for completely hands-free operation. www.grohe.com/us
off the grid
Contractor John Richards built

the earthen facade to take on the
appearance of sedimentary rock
(below), referencing drawings the
residents made to show the range
and depth of colors they desired.
of building science, a modernist dream

home that is also completely off-the-grid
and net-zero.
+96A6CD@?H9@Ǝ8FC65@FE9@H36DE
E@6IAC6DDE964@FA=6kDD4:6?E:Ǝ436?EH2D
designer Alan Nicholson, who is based
about an hour away in Ukiah. One of the
ƎCDEE9:?8D%:49@=D@?DF886DE65H2DE@
excavate a grassy knoll in order to create
an exposed rock formation right at the
entrance to the house. “When we heard
E92EOH6Ǝ8FC65=2?H2DDF7Ǝ4:6?E=J
crazy and that we could probably work with
him,” Gawthrop jokes. The house itself is
long and thin, an unusual combination of
rammed-earth walls—inspired by Gawthrop
and Taylor’s time spent living in the
Southwest—and a huge amount of glass.
The transparency helps with climate
control. In winter, low sunlight passes
through the south-facing windows and
heats the thick earthen walls on the north
side; in summer, the glass is shaded
by deep overhangs, so the walls insulate
against the heat.
Given the home’s subterranean appear-
ance, its interiors are surprisingly lofty.
+964652CW=:?6546:=:?82AA62CDE@Ə@2EO
supported on thin steel beams and cable
trusses in place of bulky girders. “You get
the heaviness of the rammed earth but
E96=:89E?6DD2?52:C:?6DD@7E96Ə@2E:?8
roof, and it creates this dynamic effect,”
Nicholson explains. Says Taylor, “We like
looking at the structure of things.”
ILLUSTRATIONS: TIM VIENCKOWSKI (THIS PAGE); LOHNES + WRIGHT (OPPOSITE)

A Recipe for Rammed Earth: John Richards of Rammed Earth Builders
explains his four-stage process for making rich earthen walls.
1 Mix 2 Color 3 Ram 4 Cure

Stir path fines (a crushed 70% 20% 10% Sprinkle into the mix Shovel the mix into Remove the plywood forms
rock), concrete sand, white path concrete white four shades of concrete plywood forms in after two to three days, then
cement, and water with fines sand cement color powder: brown, layers, then pack it with spray the walls with water
a tiller equipped to a tractor. black, tan, and red. a pneumatic tamper. twice a day for two weeks.
44
Gawthrop-Taylor Residence N
DESIGNER Alan Nicholson Design Studio

LOCATION Yorkville, California
A Office G Dining Room

B Hallway H Living Room
C Bathroom I Mechanical
A D Pantry Room
E Entrance J Laundry
F Kitchen K Master
Bathroom
L Bedroom
B
A
E
C
D
F J
L
I
G K
H
From top: A 70-square-foot reflect- evoke flight; the standing-seam roof walls, paired with seven-foot over-
ing pool greets visitors as they from Metal Sale is held up by wire hangs and three-foot solar screens,
approach the home’s elemental north struts to resemble a plane’s wing. optimize the home’s passive climate
entrance. Gawthrop, an avid hang- In the foreground is the rock forma- control and capture views of the
glider who is a member of the U.S. tion designer Alan Nicholson had valley that unfurls across the couple’s
Soaring Team, wanted the home to excavated. Sixteen-foot-tall glass 160-acre property.

small spaces
“Everything out here has been with pink lights fabricated by the
something else,” designer Barbara Neon Gallery in Houston and the
Hill says of Marfa, Texas. It’s cer- refurbished Bertoia chairs from
tainly true of her casita, which Cast + Crew. The minimal color
was formerly a grocery store: The palette is echoed in the freestanding
1,200-square-foot home is filled Malm fireplace and the concrete
with reworked pieces, including floor sculptures by William Vizcarra
the Elvis artwork she embellished from Wrong Marfa.

TEXT BY PHOTOS BY
Heather Corcoran Christopher Sturman
Smaller in
Texas
In a far-õƩļûÇÓƆÓſƙÇÓƆƙĚļƙĚŇļÂ
ÇÓƆĚûļÓſſſ/ĚĭĭÇŇÓƆĚƙûĚļŬ
On the long road to Marfa, things start

to slow down—just as the distance between
stops along Highway 90 stretches to 30
minutes of nothing but desert. By the time
visitors roll into the West Texas town, their
perspective has shifted.
“Well, it takes about twenty-four hours,
and then you’re like...ahh,” noted designer
Barbara Hill says as she sits at the dining
room table of her recently renovated casita.
“You truly slow down—that’s the real treat.”
Hill, a Texan to the core, is based a nine-
9@FC5C:G62H2JO:?@FDE@?O2?5ƎCDE
came to Marfa in the early 1980s. Over the
decades, she’s extended her design practice
here, working with contractor Billy Marginot
and local fabricators to transform former
beauty parlors and dance halls into stylish
second homes for clients including herself.
“Either you get it or you don’t,” she says of
the town’s charm. “If you do, you fall madly
in love.” Now she spends a total of about
four months a year in Marfa, visiting for
a week or two at a time.
Her current project is located just next
door to her previous home base, the dance
hall that she renovated into a sophisticated
space centered on her collection of early
minimalist art [Dwell, February 2011].
In early 2016, she purchased the adjacent
property to protect her view, but as the
renovation got underway, she kept feeling
drawn toward the 19th-century casita.
“I wanted to clean it up and rent it out to
some young person,” Hill says of her origi-
nal plan. “But when I got in there and saw
the possibilities, as usual, the train took
off, and it was all downhill from there.”
She started—as she has so many times—
by gutting the space. “All of it was gross,
trust me,” she recalls. The place was dark
and dirty, the walls were cracked and worn,
and the low ceiling appeared as though it
47
small spaces
had been homemade by the previous own- and bathroom by longtime collaborator
ers. Digging in revealed 100-year-old news- George Sacaris add an industrial edge to
A2A6CD6>365565:?E96Ə@@C:?82?5E96 the sleek space. This pared-down palette
original bead-board ceiling hidden three helps the house feel more open than its
feet above the existing one, raising it to 11 modest footprint would suggest. “If you
feet. Such moments of discovery are most limit the amount of materials, even though
exciting to Hill. “There’s hope for every- you’re using them in different ways, it
thing if someone’s willing to do it,” Hill makes the space feel bigger,” Hill says.
says of her approach. “There’s less clutter.”
At just under 1,200 square feet, the Other solutions, such as the front door
casita is smaller than her previous house, sourced from Home Depot and embellished
which she decided to sell (fully furnished, as H:E92DE:4<W@?Ǝ=>7@CAC:G24JOD9@HH92E
she usually does), once it became clear over humble materials can do with a designer’s
the course of the renovation that the casita DIY eye. Even the giant Elvis Presley art
would be her new Marfa home. In it she work that is the focal point of the dining
@AE657@CD@>6@7E96D2>6:?5FDEC:2=Ǝ?- 2C62362CD96CƎ?86CAC:?EP*96925E96
ishes she employed next door, like the piece rimmed in tubes of pink neon light.
sheets of Galvalume aluminum-zinc alloy “Every house has a different vibe to me,
C@@Ǝ?8>2E6C:2=D96DA64:Ǝ42==JC6BF6DE65 and there’s something about the size of this,”
uncrimped from the fabricator for the Hill says, that “makes it a little funkier,
A@C4946:=:?8N@?4C6E6Ə@@CDAC@G:56 a little younger.” A Pee-wee Herman print
a low-maintenance backdrop for her collec- in the living room, which Hill hand-tinted,
tions (“Furniture looks good on it,” she provided the starting point for the color
says), while steel cabinets in the kitchen A2=6EE6P2>:I@724:5J6==@HO?6@?A:?<O
The Pee-wee Herman print that
inspired the casita’s color palette
hangs above a chair from Hill’s
Pulpoetry series (above). Hill sits
on a Casalino chair from Design
Within Reach in the living room
(left); on the wall is Quivers, a sculp-
ture by her daughter, Claire Cusak.
Collaborator George Sacaris made
the stump table.
Texas Street Casita N
DESIGNER Barbara Hill

LOCATION Marfa, Texas
B
A C
D
ILLUSTRATION: LOHNES + WRIGHT
F
D E
A Bedroom D Porch
B Bathroom E Dining Area
C Living Area F Kitchen
JAN UARY / FEB RUARY 2017 DWELL

JANUARY 12–15, 2017
FORT MASON CENTER
fogfair.com
January 11, 2017

Preview Gala Benefiting the
San Francisco Museum of Modern Art
S A N F R A N C I S C O | M A R I N | N A PA | S O N O M A
small spaces
and graphic black and white. Her collection

of framed LPs—Butthole Surfers, Bad
Company—and concert posters add to the
exuberant Pop energy.
As a local—visitors are likely to spot
:==kDƏ2>:?8C6592:C2E72G@C:E6DA@ED=:<6
Wrong Marfa, the design gallery and store
owned by her friends Camp Bosworth and
Buck Johnston—Hill knows it isn’t always
easy to get things done here. It’s still the
type of place where shops open only when
owners feel like it. Or, occasionally, when
Barbara Hill calls them up and asks.
That’s precisely what she does when
she decides she might just be one refur-
3:D9652>6D492:C2H2J7C@>Ǝ?:D9:?8
the casita. She calls Cast + Crew, a nearby
shop specializing in “desert modernism,”
and asks them to open so she can try out
the piece next to the vintage Knoll Bertoia
chairs surrounding her dining table. But
once she gets the Eames chair out of the
A Fermob cart holds vintage bar- The ceiling is 15 feet high in the truck and inside, it’s clear that her vision
ware beneath a collection of favorite bedroom, where a photograph from for this particular home was already com-
album covers (top left). Surrounded the set of the movie Giant, which plete. The seat will not stay.
by plants from yucca grower Hoven was filmed in Marfa, complements
Riley, the casita’s porch shelters a chartreuse throw from El Cosmico
“I like to change everybody’s house,”
planters from Brown Dog Gardens and a Bruce Lee Supreme skate Hill says. “But once I get one for myself
and two Acapulco chairs (top right). deck from Exhibitions 2d (above). pretty right, I never want to change it.”

My Vision:
Create a dynamic structure
that incorporates
© 2017 Kolbe & Kolbe Millwork Co., Inc.
optimal views.
— Jason Weil, Architect
Retro+Fit Design LLC
Photo © David Dietrich Photography
Only Kolbe’s VistaLuxe® Collection could complete the vision of this discerning architect – windows and
doors with narrow, modern profiles and large expanses of glass that allow the homeowners to enjoy
phenomenal views from every angle. Find your vision at KolbeWindows.com.
dwellings
Rebuilding on a challenging site,

a couple optimize a winning view
that was there all along.
TEXT BY PHOTOS BY
Aileen Kwun Joe Fletcher
Moving

At the Mill Valley home diagonal ridge roof, which deck; all are part of the
designed by architect Chris Chris refers to as the home’s Modern by Dwell Magazine
Deam for residents Jack “fifth facade” (opposite). home collection for Target.
and Ellen Corrigan, the view Together with Nick Dine, Predominantly native,
begins from the top. Sun Chris also designed the fire-resistant plantings dot
studies of the steeply sloped concrete planters, pillows, the property, which sits
site informed the choice and powder-coated steel in a wildland urban inter-
for a standing-seam metal, lounge chairs on the front face (WUI) zone.
Mountains
53
dwellings
Jack and Ellen Corrigan had one cat, a load of Corrigan Residence N
@G6CD:K6G:?E286DJ?E96D:K6CDO2?52>FD:4=:3C2CJ
ARCHITECT LOCATION
@7>@C6E92?OC64@C5DE@4@?D:56CH96? Christopher C. Deam Mill Valley, California
E96J564:565E@3F:=52?6H9@>6:?$:==-2==6JO
2=:7@C?:2N EH2D2=@?892F=O3FE?@E2=@?85:DE2?46O
A Front Deck F Living Area K Master Bedroom
E@E96Ǝ?:D965C6DF=EP2EH@WDE@CJDECF4EFC6H:E92 B Den G Bathroom L Master Bathroom
DE2?5:?8WD62>>6E2=C@@7O?6DE=652=@?8242D425:?8 C Dining Area H Entrance M Music Studio
9:==D:56H96C6E96:CAC6G:@FD9@FD6@?46DE@@5O D Kitchen I Laundry/Utilities N Guest Bedroom
E Back Deck J Walk-through Closet
H:E9G:6HD@7$@F?E+2>2=A2:DE@E96?@CE9H6DEN
>6>36C@7E96C:E:D96=64EC@?:48C@FA$62E
62E$2?:76DE@O!24<_2=D@<?@H?3J9:DDE286?2>6O A
!24<2?86CD`925>@G65E@$2C:?@F?EJ:?E96
62C=JD27E6C>66E:?8==6?OH9@H@C<D:?5:8:E2= B
>2C<6E:?8O2E2>FD:476DE:G2=:?*2?C2?4:D4@N
j >6E==6?E96C6Y2?5E92EH2D:EOC62==JOl96 C
C642==DNj6E@=5>696H2D8@:?8E@>@G6@G6CE@E96
I K
2JC62OD@ >2569:>24EF2==J5@:ERl==6?255DO J
H
H:E92=2F89N@C>@C6E92?J62CDOE964@FA=6925
D E
=:G65:?2?@?56D4C:AEO@?6WDE@CJ>:546?EFCJ9@>6 G L
EF4<65:?E@E96D92CAO?62C=J
W568C66D=@A6N#:<6 G
@E96CAC@A6CE:6D?62C3JOE96:C=@E=:6D:?2H:=5=2?5
FC32?:?E6C7246_., `K@?6O256D:8?2E:@?7@CD:E6D
E92E2C6:?4=@D6AC@I:>:EJE@F?56G6=@A652C62DN F M
j ?E9:D2C62OE96C62C6D@>2?J6?G:C@?>6?E2= N
724E@CDE@J@FC=@EOl==6?6IA=2:?DNj0@F86EE@<?@H
E9@D6724E@CDH6==H96?J@F=:G696C67@C2H9:=6Y
2?5E9@D62C6E9:?8DE92EJ@F=62C?E@2D<23@FENl Upper Level Lower Level
+9@F89E96J9258C@H?2EE24965E@E969@>6O

After deeming the original sight lines. In the kitchen, a holders, dining set, lantern,
structure unfit for renova- pass-through window con- terracotta planters, outdoor
tion, Chris worked with the nects to the deck, where seating, and side table are
Corrigans to raze it and the couple often entertain; all from the Modern by
rebuild. With the addition of Chris, Jack, Ellen, and Lara Dwell Magazine collection
a lower level, the top floor Deam enjoy the view (oppo- for Target. The fire pit is
now sits higher, with clarified site). The barware, candle from Restoration Hardware.
55
dwellings
Walnut panels make up the is joined by a Barcelona vases featuring an abstracted Webbed-seat chairs by
floors and ceiling, in a subtle chair by Mies van der Rohe wood-bark pattern are John Vogel bookend an
material nod to the former and a coffee table by Brad from the Modern by Dwell expandable walnut dining
home’s midcentury prov- Ascalon; Chris designed the Magazine collection, as are table from West Elm. Chris
enance (below). Jack and custom built-in shelving. the pillows, wooden animal designed a custom built-in
Ellen lounge on a Thayer Opposite, clockwise from figures, and tray-top side desk in the den for Ellen,
Coggin sectional, which top left: The three stoneware table near the large window. who often works from home.
@G6CE96J62CDE964@FA=69252=D@364@>6H6==W 7E6C56E6C>:?:?8E96DECF4EFC6H2DF?ƎE7@C
24BF2:?E65H:E9:EDA2:?A@:?EDO:?4=F5:?85C2:?286 C6?@G2E:@?O9C:DC2K65:E2?5D6E@FEE@C63F:=5
AC@3=6>D2?58C@F?5H2E6C=62<DE92E925368F?E@ :E7C@>D4C2E49OC6A@D:E:@?:?8:EE@:?4=F562?255:-
E2<62E@==@?:EDDECF4EFC2=:?E68C:EJY>@DE4CF4:2==J E:@?2==@H6C=6G6=2?5E@6?92?46E96>@F?E2:?G:6HN
2EE96324<564<OH96C6E96J=@G65E@9@DE7C:6?5DN +96ƎCDEH2==E@8@H2D:?!24<kDDEF5:@OH96C6E96
DD962?5!24<4@?D:56C65@E96C@AE:@?D:?E96 @?=J@AE:@?7@C86EE:?8@FE28:2?EO
WA@F?5
2C62O2=@?8E96H2JE96J4@?DF=E65E96:C=@?8E:>6 DJ?E96D:K6C7C@>H2DDEC2:89EE9C@F89E96D:56
7C:6?5D9C:D2?5#2C262>OH9@2=D@=:G6:?$:== @7E969@FD6N.9:=69C:DH@C<65E@4@>A=6E6
-2==6J2?52C672>:=:2CH:E9E96:5:@DJ?4C2D:6D@7 4@?DECF4E:@?:?E967@==@H:?8J62COE964@FA=6C6?E65
3FJ:?82?53F:=5:?8E96C6N E96=A65O@74@FCD6OE92E 29@>6:?*2FD2=:E@O;FDE
>:?FE6D2H2J3J42CN
9C:D:D2?2C49:E64EH9@925C6?@G2E659:D@H? D2?2CE:DE:49@FD69@=5OE96@CC:82?D96=58C62E
9@>6H:E9#2C2OH9@7@F?565H6==:?N C6DA64E7@CE964C62E:G6AC@46DD2?5j=6E9C:D5@
+96@CC:82?DE@FC65?62C3JAC@A6CE:6D7@C?62C=J H92E965@6DOH:E9@FEAFEE:?8E@@>2?JA2C2>6E6CD
EH@J62CD3FE7@F?5E92E>@DEC6BF:C656IE6?D:G6 @?9:>OlD2JD==6?Nj656Ǝ?:E6=JAFD965FDE@5@
FA52E6DY2?5?@E9:?84@>A2C65E@E96>@F?E2:? D@>6E9:?85:776C6?EO2?5H682G69:>E967C665@>
G:6H@FED:56E96:CH:?5@HN+96JC6D@=G65E@DE2J E@5@E92EY96925E96G:D:@?Nl
AFENj.6925366?E2=<:?8E@9C:D7@C>2?JJ62CD .:E9E969@>6kD7C@?E6?ECJ=625:?85@H?9:==
23@FE9@HE@C6DECF4EFC6E969@FD6O2?596H2D 2?5:?E@E96E@AƏ@@COE962C49:E64E2AAC@24965E96
DFA6CA2DD:@?2E623@FE:EN E;FDE>256D6?D6E@ C@@Ə:?62DjE96Ǝ7E9724256Ol56D:8?:?824=62?O
H@C<H:E99:>E@C63F:=596C6Ol==6?D2JDNj?5#2C2 DE2?5:?8WD62>>6E2=DECF4EFC6H:E9?2CJ276?6DEC2-
H2D@3G:@FD=J:?DA:C2E:@?7@C86EE:?8E96>@E:G2E:@? E:@?:?D:89ENj+96C62C6?@G6?ED@CDE24<D4@>:?8
E@C656D:8?N!FDE<?@H:?896CAFD965>6E@E9:?< @FE@7:EOlD2JD9C:DOjH96C62D:?2?@C>2=9@FD6
>@C623@FE56D:8?2?5E969@>6Nl J@F92G62==E96i49:4<6?A@IkYE9649:>?6J2?5

57
dwellings The distinctive diagonal Bowers and Wilkins speak- adjacent volume houses
ridge of the roofline also ers that are run on a Sonos the galley kitchen; the Ball
defines the home’s strik- system. A portion of Jack’s clock is by George Nelson
ing interior. A structural massive collection of more Associates. Downstairs are
steel column reinforces the than 10,000 records is dis- more shelves of records
walnut ceiling, which was a played in a low-slung walnut (opposite), the master and
highly technical build and shelving unit built along the guest suites, and Jack’s
contains a series of recessed upstairs stairwell entry. The music studio.
“This thing is built like a boat. As you go

out into the living room, the space gets taller,
and in the den, it’s a much smaller,
more intimate space with framed views.”
Chris Deam, ARCHITECT

dwellings
Two more shelving units produces his work; a new collection of rare and over-
flank the entrance to the album, Impossible Star, size synthesizers (right); to
music studio (below), where is due out in April. Deam get them into the previous
Jack, a founding member designed an extra-wide set structure, the Corrigans had
of the British electronic of double doors to accom- to have much of the gear
group Meat Beat Manifesto, modate the reentry of Jack’s hoisted through a window.
2==@7E92ENl@?5F4E:?8DF?DEF5:6D@7E96C@@7kD indoors and outdoors is such a celebration of the

impact on the lower deck and working within the mountain, and of Mill Valley,” says Ellen. Furnished
constraints they generated helped inform the disW H:E927F==5:?:?82?5=@F?86D6EO2DH6==2D282DƎC6
tinctive roof form, he explains. pit, it effectively doubles as an outdoor living room.
Bifurcated by a diagonal ridge, the roof geometry Downstairs are the master and guest bedrooms
is equally striking inside, where warm, neatly delinW 2?5!24<kDD@F?5DEF5:@O2?2F5:@A9:=692G6?Ə2?<65
62E65A=2?<D@7C:49H2=?FE>:CC@CE96Ə@@CD2?5 3JEH@Ə@@CWE@W46:=:?8D96=G6DDE24<65H:E96G6?
converge at an uncanny angle to form the ceiling. >@C6G:?J=N4FDE@>O6IEC2WH:56D6E@75@F3=6
“This place is built like a boat,” says Chris, who doors—made to accommodate the reentry of his
worked with local craftsmen at Braintree prized vintage equipment—leads to a revamped space
Woodworks to execute the highly technical build. E92EkDƎ==65E@E963C:>H:E9862CNF:=EH:E92H@@5
+96FAA6CƏ@@C>62DFC6DC@F89=JODBF2C6 D=2E46:=:?8O24@FDE:4H2==A2?6=DOEC:A=6W8=2K65
feet and contains all of the public areas, centralized windows, and walls composed of double layers of
around a walnut staircase, which is joined to a *966EC@4<D2?5H:4965H:E9>2DDW=@2565G:?J=@G6C
=@?8C@H@74FDE@>42D6H@C<Ǝ==65H:E9#'DE92E D@F?5W:D@=2E:?8C6D:=:6?E492??6=DOE96DEF5:@
are now on proud display at the heart of the home. was designed to be soundproof for Jack, a night owl,
The rich material palette extends from the as well as for Ellen, an early riser.
stairwell and into the adjacent galley kitchen to form At just under 2,400 square feet, the home is now
what Chris refers to as the “datum line”; in a modern Ə6I:3=J@AE:>:K65E@E964@FA=6kD?665DNj EkDE96
twist on traditional wainscoting, it forms a crisp, perfect size for us, because we use every single room.
trimless border of walnut paneling from the counW +96C6kD?@7@C8@EE6?H:?896C6O?@F?FD654@C?6COl
tertops down, with expanses of white above it. says Ellen. “The best thing is that Chris knew our kind
?E6C:?8E96<:E496?C6G62=DE969@>6kD>@DEH:?W of crazy—he knew how many pieces of vinyl we had
ning feature—an expansive deck that sits perched and how important that was to us, and that we
atop the new lower level, with framed, elevated had to make it a part of the design.” For the Corrigans,
views of Mount Tam. “The connection between the 9@>6:D?@H2A=246E92EkDD2762?5D@F?5N

Angular walls and a mix of optimize the room’s acous- “Chris understood the artistic value
reflective and absorptive tics. Extra dense walls made
surfaces—including the wood of Sheetrock, mass-loaded of our collection—it’s a piece of art in
slat ceiling and the acoustic
wall panels, from Overtone
vinyl, and sound-isolating
resilient channels also keep and of itself.”
Acoustics—are designed to the space soundproof. Ellen Corrigan, RESIDENT
ALBUM COVERS: COURTESY OF SMITHSONIAN FOLKWAYS RECORDINGS (RADIO MOSCOW); COURTESY OF ALAN WATTS CENTER (THIS IS IT); COURTESY OF SONY MUSIC ENTERTAINMENT (THE NEW YORK TAXI DRIVER)
On the Record
A professional musician for more than 30 years, resident Jack Corrigan
shares a few picks from his personal library.
T H E PL A N E TA R I U M R A DIO MOS COW A N D T H E K E N N E T H PAT C H E N A L A N WAT T S T H E N E W YOR K TA X I DR I V E R

L ECT U R E SER IES: NO. 3 W EST ER N HEMISPHER E
j"6??6E9'2E496?C625D9:D j=2?.2EEDkDThis Is It, a “The New York Taxi Driver
“This recording is from “Radio Moscow, from poetry with the Chamber 5CF8W:?5F46592AA6?:?8O features recordings of cab
*2?C2?4:D4@kD$@CC:D@? the 1950s, would not be !2KK*6IE6E@?E9:D@?6Y:EkD H2D@?6@7E96ƎCDE?@:D6 drivers by Tony Schwartz
'=2?6E2C:F>N E:?4=F56D2 released now. It features my favorite Bay Area beat records. The album was from the 1950s, the era
1960s lecture on UFOs by shortwave recordings of poetry, recorded in 1958.” released by Henry Jacobs on when anything could be a
Hubert J. Bernhard.” Russian propaganda an electronic beatnik label record. Also something that
broadcasts. What more in Sausalito, but recorded would not be released now.”
could you ask for?” in Mill Valley.”

Imagined as a jewel box on between a plumb interior
a hill, Sliding House takes and a slanted exterior. The
the place of a barn that once tilt of the structure isn’t just
stood on this Nova Scotia a visual trick—it also helps
site. Its form follows the the roof to drain. When the
slope of the land, while the distinctive windows are lit
windows are parallel with the from within, the house serves
horizon, setting up a tension as a beacon for local sailors.
A harsh climate and a hillside

dwellings
Lights
Will
Guide You
site inform a Nova Scotia getaway’s regional accent.
TEX T BY PHOTOS BY
Zahid Sardar Christopher Testani
Home 63
dwellings
“I’m interested in the clarity and

calmness that come from using a single
material. Why use two if one will do?”
Brian MacKay-Lyons, ARCHITECT

Clockwise from near right:
At the IKEA dining table,
David Peters and his son,
Dashel, enjoy a meal from
a Paderno stainless-steel
pot made on Prince Edward
Island. The focal point
of the home is the long
Alumicor window that
reveals the slope of the site.
Stairwells and service areas
utilize knotted planks. “It’s
akin to stepping offstage
into the wings,” resident
Rhonda Rubinstein says
of the transition. Over time,
the salt air will soften the
appearance of the exte-
rior’s Galvalume cladding.
The interior of locally milled

poplar (opposite) contrasts
with the home’s metal
exterior. Thanks to the six-
degree pitch of the site, the
dining area leads directly
to the yard, while the living
room ends with a balcony
that’s high above the ground.
In Upper Kingsburg, a small coastal hamlet near #6.:EEY2?5E96E9C6692G6C6>2:?657C:6?5D6G6C

Halifax, Nova Scotia, a summer getaway has become since. The couple’s parcel has an old apple tree and a
a startlingly modern landmark. But the metal house, Ǝ6=57@C8C@H:?892J2?58C2K:?89@CD6DO2==@G6C-
which resembles a shipping container about to slide looking MacKay-Lyons’s 18th-century farm, with two
toward the ocean, has local roots that run deep. of its three original barns still standing.
In 2000, Rhonda Rubinstein, creative director By 2005, when their son, Dashel, turned 4, Rhonda
of San Francisco’s California Academy of Sciences, and David were ready to build a practical and perma-
and her husband, David Peters, a design director ?6?EG242E:@?9@>6N+96JH6C64@?Ǝ56?EE92EE96:C
who is originally from Halifax, bought the three 7C:6?5kDƎC>O$24"2JW#J@?D*H66E2AA=6C49:E64EDO
acres on which the 1,700-square-foot house now sits <?@H?7@C:EDj4C:E:42=C68:@?2=:D>lY56C:G65:?A2CE
from architect Brian MacKay-Lyons. The clients from MacKay-Lyons’s tutelage under postmodernist
ƎCDE>6EE962C49:E64E:?4@==686Y2EE96%@G2*4@E:2 92C=6D$@@C6Y4@F=54C62E6256D:8?:?DJ?4H:E9
College of Art and Design University, a 1970s hot their own progressive views of architecture.
spot for conceptual artists like Joseph Beuys and Sol What MacKay-Lyons eventually created for the
65
“ The house is so much a part of identity here.
In San Francisco, you’re known for the
work that you do. In Kingsburg, you’re known
for the house that you build.”
Rhonda Rubinstein, RESIDENT
66
dwellings
“At Sliding House, the out- Carter leather sectional is family is a modern-day “barn” that symbolically
side world is more present,” by Gus Modern, and the boat replaces one that had long ago burned down on the
says Rhonda, “always visible carving is by local folk artist
Bradford Naugler. The family
site. The home avoids mimicking the nostalgic
through the sliver of window
that runs across the length sought to source Canadian forms of the wind-battered structures nearby, yet it
of the house and down to the furnishings and materials as 6>F=2E6DE96:C>:?:>2=:DE>2E6C:2=:EJY25:DE:==2-
ground.” The living area’s much as possible. tion of their hardy regional essence.
MacKay-Lyons describes the house as a “box laid
on a hill,” and the owners have given the tough,
slanted rectangle the moniker “Sliding House.” The
structure was deliberately placed on the edge of a
92JƎ6=5O@FE@7C6DA64E7@CE96=2?5kD7F?4E:@?O2?5
is angled to withstand the kind of high westerly
winds that have pushed older buildings in the vicin-
ity to lean downhill. Its high rear balcony, above a
bedroom, is a place to catch the morning sun. The
thick, nearly windowless north wall contains the
taut inset kitchen, a bathroom, and the stairs.
Sliding House N
ARCHITECT LOCATION
MacKay-Lyons Sweetapple Upper Kingsburg,
Architects Nova Scotia
A Master Bedroom / E Deck J Living Room

Studio Loft F Entrance K Balcony
B Master Bathroom G Bathroom L Laundry
C Storage H Dining Area M Utility Room
D Void I Kitchen N Bedroom
C B C C C
D
A
Loft
G
F I
H J
Main Level
E K
C N
L
Lower Level

dwellings
With corrugated aluminum exterior cladding,

a tiled roof that drains easily, and a humble, locally
>:==65%6H?8=2?5A@A=2C92C5H@@57@CƏ@@CDO
ceilings, and built-ins, Rhonda and David’s home is
weather resistant and relatively easy to maintain.
The home’s seemingly crooked windows, arranged
in a narrow diagonal band on the south face, run
A2C2==6=E@E96Ə@@CD:?D:562?52C64@>A=6E6=J=6G6=
with the horizon. Strategically placed to maximize
natural light and passive solar gain, the ribbon of
glass starts at the top of the hill, under the bedroom
loft at the west end, and runs across the length of
the open-plan living and dining room to the
second-story back porch.
Through this wide, west-to-east visor, “we can
D66H:=5566CD4FCCJ:?824C@DDE96Ǝ6=52E52H?OE96
neighbors’ cows making their morning trek or rest-
ing under a single tree in the afternoon, and distant Now, MacKay-Lyons passes by Sliding House
ships gliding in the ocean at dusk,” Rhonda says. regularly on his way to the Rubinstein-Peters
Birds, owls, cats and dogs, and huge sailing vessels 72>:=JkDƎ6=5OH9:4996A6CD@?2==J>@HD:?6I492?86
riding the waves also appear indoors in the form of for pasturing his horses there. Despite its modern
the folk sculpture the family collects. AC@Ǝ=6OE969@FD692D364@>62?:?EC:?D:4A2CE@7
The no-nonsense severity of the building “makes the architect’s village, which consists of roughly 40
it a piece of this place and its sturdy maritime cul- households. Neighbors have embraced the structure,
ture,” says MacKay-Lyons, a native Nova Scotian. E9@F89>2?J7@F?5:EE@@7@C6:8?H96?:EH2DƎCDE
“It is the hill versus the horizon. It is the tension completed. The once gleaming and unpopular
between those two lines that we wanted to convey.” modern structure, now softened and weathered
“Of course, this house comes as a shock in a by the salt air and many seasons, has gained new
historic neighborhood, but it is deeply respectful, and unexpected admirers: night sailors and lobster
perhaps not in its shape or form, but certainly in its ƎD96C>6?7C@>E96A@CE@7#F?6?3FC8N
attitude,” the architect adds, explaining that, like “We didn’t realize how conspicuous the house
Sliding House, peasant structures from the 1700s would be from the ocean until we heard that they
were spartan and austere in a very uncompromising use the light of its windows to guide their boats,”
way. “In this area, the climate and cultural ethic David says, proudly. “Sliding House has a new status.
demand simplicity.” It’s a navigation landmark.”
A Local’s Guide to Nova Scotia

Where to shop, drink, eat, and re-caffeinate.
THE K NOT PU B R O S E B AY G E N E R A L S T O R E LOCA L SOU RCE DOTS & LOOPS T R I DEN T BOOK SEL L ERS & C A F E
4 Dufferin Street, Lunenburg 3452 Highway 332, Rose Bay 2530 Agricola Street, Halifax 183 Lincoln Street, Lunenburg 1256 Hollis Street, Halifax
ILLUSTRATIONS: PETER OUMANSKI
Locals and visitors alike David calls this shop “the Located on the hippest “This little shop is my “It’s a well-curated book-
stop by this nautical bar for essence of a village country street in Halifax—a stretch go-to for great gifts and shop. It’s an intimate cafe.
the draught beer, darts, and store.” Its signature butter that’s home to bars, antique clever designs,” Rhonda And it’s a stalwart reminder
pub fare. “It’s a marvel of tarts “sell out practically shops, and vibrantly says of the boutique in of earlier times in Halifax,”
sea-shanty-meets-German- before they’re even baked,” painted houses—Local Lunenburg’s Old Town, a says David. “You never know
pub decor,” says Halifax adds his wife, Rhonda Source market aims to Unesco World Heritage site. what might turn up on its
native David Peters. “And Rubinstein. 902-766-4141 connect urbanites with the It specializes in prints and shelves of new and vintage
they make the best cod region’s farmers. textiles. dotsandloops.ca books,” notes Rhonda.
cakes ever!” theknotpub.ca localsourcemarket.com 902-423-7100
68
The poplar desk at the end house was inspired by ship- tile-clad bathroom offers
of the master bedroom building techniques, with one of the home’s only
loft looks down on the built-in furniture and stor- breaks in material, with a
living areas beneath the age throughout. The custom wall-mounted Swing 85
slanted, wood-clad ceiling. bed features under-mattress ceramic sink by Artceram
The compact interior of the drawers (opposite, left). The (opposite, right).
“I see our little house sliding down a hill

as a metaphor for the precarious time in which
we live, believing that design can help solve
some of the challenges faced by our civilization.”
Rhonda Rubinstein

dispatch
Please
Cincin
Ohio native Ryan Santos in Denmark and Belgium.
recently opened his first res- Today he is integrating
taurant, Please, in downtown the cooking and foraging
Cincinnati. An accredited techniques he gleaned
graphic designer, Santos from the European dining
(opposite, top) pursued culi- scene and transporting
nary training in restaurants them to southwestern Ohio.
70
nati
A rising chef creates a restaurant by design.
A S TOL D TO PHOTOS BY
Amanda Dameron Brooke Shanesy

dispatch
Ryan Santos, an Ohio native and largely self- when I thought I was ready, and then I’d have
2?@E96C?:89EH96C6 56Ǝ?:E6=JH2D?kEN$J=2DEA2CEW
ƙƩûĔƙ¶ĔÓìÂĔƆŇŜÓļÓÇĔĚƆñſƆƙĘÓǗÓſſÓƆƙƩſļƙÁ E:>6;@3H2D:?-:C8:?:2OH@C<:?87@C!@9?*9:6=5DO2
a 30-seat establishment in Cincinnati focused 4967H9@H6?E@?E@@A6?*>JE9O2$:496=:?WDE2CC65
C6DE2FC2?E:?9:428@N6H2D2>6?E@CE@>6N+96
on local produce. In doing so, he is emerging 4@>3:?2E:@?@74C62E:?8DF446DD7F=A@AWFADO>J
as one of the leading creative talents in the city’s EC2G6=D:?FC@A6O2?5>JE:>6H@C<:?87@C9:><:?5
@74@??64E65N EH2D=:<6Oj&<2JO k>C625JNl
cultural renaissance.
Why Cincinnati? You could have gone anywhere.
EC62==J4=:4<65H96? D2HE962G2:=23=6DA246D:?
:?4:??2E:O6DA64:2==J:?E96&G6CWE96W)9:?6?6:89W
You went to school for graphic design and then 3@C9@@55@H?E@H?N!FDEC62==J@=5O9:DE@C:4O362FE:W
decided you’d rather be a chef. You rose in the 7F=DECF4EFC6DE92EC6Ə64E65E96D:K62?5Ə@H@7
ranks of the restaurant scene in Cleveland, then C6DE2FC2?ED k5D66?:?>JEC2G6=D:?FC@A6N C62=:K65
departed for Europe for two years to train in E92EE96DEJ=62?5=2J@FED@7E96C6DE2FC2?ED =@G65
Copenhagen. You then chose to return to Ohio, E96C64@F=52=D@H@C<96C6N
where you launched a successful series of pop-up
dinner parties. When did it occur to you that you You maintain a garden right in the middle of
might like to open your own restaurant? downtown, in between a few derelict buildings.
EkD7F??JN&?6@7>JD@FD4967D2D<65>6Oj@H5@ How did that come to be?
J@F<?@HH96?J@FkC6C625JSl+96C6H6C6?:89ED ?24BF2:?E2?46H2D>2?28:?8:EO3FE9:DAC@;64ED
E@@<9:>6=D6H96C6OD@E9682C56?H2DD:EE:?8
F?56CFE:=:K65N C624965@FEE@9:>2?5HC@E62AC@W
A@D2=N EkD8C62EE@3623=6E@H2=<92=723=@4<2?58@
AF==H665D@CA:4<G686E23=6DO;FDEE@4=62C>J>:?5N
2G:?8E9682C56?:D2C62==J:?DA:C2E:@?2=7@C46
7@CE96<:E496?N@@<D>2<6282C56?CF?6G6CJ
52JY:7H6kC6=@@<:?87@C:?DA:C2E:@?7@C25:D9@C2
Ǝ?2==2J6CO:EkDE96C6N%@HH692G628C62E=2C56C@7
A:4<=6D2?5AC6D6CG6DOE9:?8DH64@?DE2?E=JAF==:?E@
5:D96DN.6;FDE7@F?5@FE:EH:==362C@F?5?6IEJ62CO
D@E964@@<D2C682>6WA=2??:?8H92EE@A=2?EN
You also do many foraging trips in the area. How

did you learn to identify edible plants?
E2==3682?H96? H@C<65:?@A6?9286?OH96C6E96
4967DC62==JC6=:65FA@?E96AC24E:46N&?6@7E96C6DW
E2FC2?EDO"2562FO:D=@42E65@?2?:D=2?5O2?5E96J
8C@H@C7@C2866G6CJE9:?8E96JFD6E96C6N@C28:?8:D
one of those things that you can read and study
23@FEO3FEF?E:=J@F92G6D@>63@5JH9@E2<6DJ@F
@FE2?5D9@HDJ@FE96:?56D4C:323=65:776C6?46D:?
D@>6E9:?8D@C9@HE@DA@EE96>NNNN ;FDEH2E4965
how they went about it and saw that many of the
E9:?8DE92E8C6HE96C62=D@8C6H96C6N
“As a chef, it’s your job to use The site of the restaurant Associates, Santos
dates to the 18th century; approached the renovation
your skills to create amazing food— the 19th-century structure of the building and design of
was uninhabited for decades the finished space by incor-
no matter the limitations.” Ryan Santos when Santos found it. porating works and pieces
Working with local design- by local makers like Christie
build firm Drawing Dept and Goodfellow (opposite, bot-
contractors Sansalone & tom right) of CG Ceramics.
72
dispatch
Santos regularly traipses At Please, the fungi are “I use the skills that I learned in
through the woods around used for stock as well as in
Cincinnati looking for ingre- composed dishes, combined design school about the use of color
dients for his dishes, which with shallots, thyme, and
change often. Here, he butter. Santos notes that and composition and apply them
selects oyster mushrooms, this particular specimen is
which “grow on trees and identified by its distinctive to how we think of plates and food
logs during the wetter part bunching pattern and its
of summer,” he says. “oyster-like” scent. and dishes.” Ryan Santos
dispatch
What Lies Beneath

ǏƱŧŭÎĈƨɓȍʝ¾ɓůƐëůƨŌʓůŧëůȍŀƼƼȍ
ʓȗȍƨȗıƼȍơĈëůƨƼơƼëĈȍƨçëƼɓ¾ƐĈŭŧĈůŌŧȗǢÎĈ
ŧƼƐëůƨŌƋůÎŧĈƨçëůƨůƨŌȍƼƼơçƼıķÎĈçƨë
ȗƼȍŌĈȍĈǲAĈȍĈȇȗŧƼʓŧĈƨĈʓƐʝƼɓʓƼȍƋȗǲ
C B
A
Do you take your team out with you to teach and
Upper Level
pass along the knowledge?

I do. Some come with knowledge of their own.
You went to school for graphic design but chose

to become a chef instead. Why?
I never stopped wanting to design. It just became
more of a hobby. In creating the vision of the restau-
D rant, I had my hands in designing the menu and
Basement
H the space, which was a new thing for me, to think in

the three dimensions of an environment. I use the
techniques and skills that I learned in design school
about the use of color and composition and apply
E G
F them to how we think of plates and food and dishes.
Please N I try to create an open environment, just like in
design school, in the sense that anyone, no matter
ARCHITECT LOCATION
their skill level, can pitch ideas.
Drawing Dept Cincinnati, Ohio
Can you describe the state of the building when

A Dining Room C Bar E Office G Prep Kitchen
B Bathroom D Utility Room F Dry Storage H Kitchen (partially cut away) you came upon it?
It had been empty for decades. The windows were all
3@2C565FAN+96C6H6C6A2CED@7E96Ə@@CE92EH6C6
nonexistent. We were lucky there wasn’t any roof
damage, which meant there was no water damage in
the building. Almost all the original woodwork that
was in the space was completely intact. While it is
weathered, it’s completely intact. We tried to respect
the historic, run-down, original part of the building,
while layering in newer things to create a space that
felt personal and authentic to the neighborhood.
<RXKDGWRH[FDYDWHWKHGLUWƤRRURIWKHEDVHPHQW
to accommodate storage. Sounds challenging.
We knew we were going to need more space, so we
5C@AA65E96Ə@@C3J23@FE6:89E:?496DOH@C<:?8
E9C@F8929@=6H64FE:?E96Ə@@C23@G6N.6<6AE2==
the original wood panels and kind of reengineered it
and restructured it. Also, the staircase is historic, so
we couldn’t touch it, and it’s not even 36 inches wide.
We dropped an electric bobcat into the basement to
dig it out. It was an incredible sight.
ILLUSTRATION: PETER OUMANSKI
Opposite, clockwise from Local furniture maker “The ugliness and the decay of the
top left: Santos employs Brush Factory created the
a team of 17 in the newly tables and chairs. Santos space are what attracted me to it.
opened space. Original and his girlfriend, Jessie,
details, such as the ornate hand-painted the tiles in I thought it was super beautiful, but
work on the structure’s the bathroom; it’s become
facade, were carefully pre- a popular spot for guests it took some creative construction.”
served and embellished. to snap selfies.
Ryan Santos
77
dwellings
78
Ian Jones and Debra Peat
enjoy fresh fruit grown
in the backyard of their
Seattle, Washington, home.
Relocating from a rural
community, the couple
brought their passion for
gardening to their new
urban setting. Sliding doors
from Quantum wrap around
the kitchen and open to an
expansive courtyard and
deck, which is furnished
with armchairs from Crate
Greener Grass
and Barrel. Smith pendants
from Resolute hang above
the PentalQuartz and
marble island; the oven and
dishwasher are from Miele.
TEXT BY PHOTOS BY
Amara Holstein Christopher Testani
Craving the conveniences of city life,

a couple sidle over to Seattle
from the countryside without compromising
their love of the outdoors.
dwellings A builder by trade, Ian the hardscapes (below). is by Miele. Personal keep-
served as general contractor, Opposite, clockwise from sakes, like a mobile by Anne
working with designer Eric top left: In the kitchen, an Siems, soften the slightly
Walter of mw|works. Three elongated window breaks industrial aesthetic. A rock-
box volumes, conceived the custom walnut cabinetry ing chair that once belonged
as “spaces within spaces,” by Contour Woodworks. The to Deb’s grandmother sits
are configured around the metal backsplash and drawer next to the plaster fireplace
open courtyard; local firm pulls were fabricated by 12th in the living room; concrete
Wittman-Estes designed Avenue Iron; the cooktop floors were poured on-site.
As the sun sets behind the Cascade mountains

Helen Street House N
in the near distance, Debra Peat and Ian Jones’s
Seattle home catches the last rays of light. A soft DESIGNER LOCATION
9F>@7G@:46DƎ=E6CDE9C@F89E9646?EC2=4@FCEJ2C5 Eric Walter, mw|works Seattle, Washington

2?5@A6?=:G:?8DA246DN 2?8C:==D2Ǝ==6E@7D2=>@?O
adding sprigs of rosemary and thyme from the gar-
den, and dinner guests mingle under generous over-
D E F
hangs and covered breezeways. “The home is really C
exciting, because you don’t usually see this kind of
B
outdoor space in an urban setting,” says designer
C:4.2=E6C@7=@42=ƎC>>H|works. “And certainly A
?@E:?E96'24:Ǝ4%@CE9H6DENl H G
Before beginning construction on the house in J I
2012, Debra and Ian had spent the previous seven
years living on three-quarters of an acre in the coun-
Ground Floor
tryside in Fall City, a small community about 26
miles east of Seattle. Ian, a contractor, had built a
A Garden Shed
capacious contemporary home there, with four bed- B Porch
C Courtyard K L M
rooms and 23-foot-high ceilings, surrounded by
D Kitchen
fruit trees and hemlock hedges. But all that greenery E Guest Bathroom
required tremendous upkeep, and the couple didn’t F Guest Bedroom
use much of the square footage. They also found that G Living Room
H Dining Room K Master Bathroom Second Floor
they missed the amenities of city life. I Powder Room L Walk-in Closet
So they decided to move back to Seattle for a more J Mudroom M Master Bedroom
urban lifestyle and planned to downsize to a condo,

81
dwellings
PHOTOS: TKTKTKTK

Despite being located in garden, which is equipped “You don’t usually see this kind
the middle of the city, the
couple’s property is flanked
with a PVC irrigation sys-
tem (opposite). Generous of outdoor space in an
by two private gardens and
is in close proximity to the
breezeways, walkways,
and overhangs frame views
urban setting—and certainly not
Washington Park Arboretum.
Ian and Deb often cook using
beyond: “It’s like a prom-
enade, with a forest at the
ĚļƙĔÓ\¶Ěñ¶JŇſƙĔǘÓƆƙŬź
fresh vegetables from the end of the road,” says Deb. Eric Walter, ARCHITECT
83
dwellings
The home’s exterior is clad the plantings throughout, (below). The structure is vines of honeysuckle are
in a rich material palette of adding a variety of grasses, sited on a slope (opposite, intertwined on a steel-mesh
locally sourced salvaged evergreen vines, and mature top left) that dips to the trellis (opposite, top right),
barn wood, three types trees from Emery’s Garden, east, allowing for a gener- and Cor-Ten steel plant-
of Richlite cement board, including a Japanese black ous basement that Ian uses ers host a bounty of fresh
milled cedar, and steel. Ian pine that sits alongside the for his business, Treebird herbs, fruits, and vegetables
and Deb specified most of entrance on the west facade Construction. In the garden, (opposite, bottom).
but when they happened upon a ǿȂȃǱǼǵ sign on a home centers on an open courtyard, with all of the
corner lot, they quickly called the realtor. The site rooms arranged around that core. “We wanted the
had easy access to downtown, yet it was bordered on architecture to fall away; it’s about framing spaces
two sides by sprawling private gardens and was just and views,” Walter explains. Nine-foot-high sliding
one block away from Washington Park Arboretum, walls of glass separate the living areas from the
a 230-acre park designed by Frederick Law Olmsted. courtyard and are easily pushed aside in pleasant
“The location was central to everything,” says Deb, weather. Each part of the living space is articulated
a technical program manager, though a run-down 3JD6A2C2E63@IG@=F>6D56Ǝ?653J5:G6CD6D:5:?8
110-year-old house sat on the lot. With a poor foun- materials. They include hundred-year-old barn
dation and crumbling structure, “it needed to go,” wood sourced from nearby Skagit Valley, three types
she says. The couple met with mw/works and imme- of Richlite cement board, custom-milled cedar, and
diately established an aesthetic connection, which steel—all of which continue inside to further blur
was helpful, as the project required a somewhat boundaries between the interior and exterior.
unorthodox working relationship. “Since Ian is a ?D:56O2Ə6I:3=6FD6@7DA24636=:6DE96C6=2E:G6=J
builder, he told me, ‘Just give me a couple of sketches >@56DEDBF2C67@@E286N+96E@AEH@Ə@@CDOE@E2=:?8
and I’ll take it from there,’” Walter recalls with a laugh. 1,700 square feet, include the main living areas, the
Indeed, the entire design process turned out to be master suite, and a guest bedroom and bath; the
>@C6ƏF:5E92?FDF2=Nj2=7E96E:>6O:?DE625@7 32D6>6?EƏ@@CAC@G:56D2?6IEC2ODBF2C6766E
drawing something, we’d come to the site and I’d and houses Ian’s business, Treebird Construction,
explain the idea, and then Ian would build it,” Walter along with a second guest room and bath.
says. Moving from the country, the couple had been Throughout, the vibe is unfussy and simple.
DA64:Ǝ423@FEH2?E:?82?@A6?WA=2?9@FD6H:E9@FE- A white oak custom dining table, designed by Jon
door areas a key part of the design, but otherwise 6?ECJ@7=@42=ƎC>8@DEF5:@O:DA2:C65H:E9D=:>
they deferred to Walter to craft a modernist style. Montis dining chairs. A rocking chair that once
Linear, lean, and tightly held to the site, the new belonged to Deb’s grandmother continued on page 129

dwellings
“ There’s something calming

about materials that you
don’t have to maintain or make
look like something else.”
Eric Walter
How Does Her Garden Grow?

An inveterate green thumb, resident Debra Peat shares her
favorite picks from the Seattle region and beyond.
M A RIGOLD A N D MIN T W H I T E F L O W E R FA R M S S E AT T L E S E E D C O M PA N Y CH R IST I A NSON ’S N U R SERY N ICHE OU TSIDE

ILLUSTRATIONS: PETER OUMANSKI
j+9:DƏ@H6CD9@AD:ED:? “On a more exotic note, the “We buy our seeds from “Roses are my favorite. “Niche Outside carries a
Melrose Market, with a Cafe au Lait dahlias from various places, but our The best resource north of thoughtful selection of
second location in Pioneer White Flower Farm, based neighborhood spot is the Seattle, in the Skagit Valley, plant-related accoutre-
*BF2C6N.:E9Ə@H6CDO in Connecticut, are sub- Seattle Seed Company— is Christianson’s Nursery ments, like Fruitsuper’s
books, and the owner’s line lime. Pale, beautiful, and good people dedicated to and Greenhouse. They host Anywhere Vases, which
of candles and soaps, both majestic, they have to be in delivering goodness to the an event each July with allow you to make a vase
locations are sweet spots the ground before Mother’s people.” seattleseed.com the local Rose Society to out of any glass or jar.”
that invite you to linger.” Day and always sell out.” further the public’s appre- nicheoutside.com
marigoldandmint.com ʓŧůĈŀƼʓĈȍı
ȍơǲÎƼơ ciation of these beauties.”
christiansonsnursery.com

in the digital world
Behind the
Dwell Magazine
Aa Serif
GEOMETRIC FAMILY
Regular Italic
Medium Italic
Bold Italic
Black Italic
Redesign
“ The Bauhaus aimed to unite artists, architects,
“ The Bauhaus aimed to unite artists, architects, and craftsmen in the utopian project of
designing a new world. The legacies of the Bauhaus are
visible today.” the harvard art museum Display Regular 11 / 12
and craftsmen in the utopian project of “ The Bauhaus aimed to unite artists, architects,
and craftsmen in the utopian project of
designing a new world. The legacies of the Bauhaus designing a new world. The legacies of the Bauhaus are
visible today.” the harvard art museum Display Medium 11 / 12
are visible today.” the harvard art museum “The Bauhaus aimed to unite artists, architects,
and craftsmen in the utopian project of
designing a new world. The legacies of the Bauhaus are
Medium Display 32 / 34 visible today.” the harvard art museum Display Bold 11 / 12
New Year, New Look
This issue marks the launch of
Aa
a redesign of the magazine. Learn
from the Dwell team about the
Sans Serif
typography and concepts behind GEOMETRIC FAMILY
our updated appearance. Design Regular Italic

Medium Italic
PHOTOS: JASON + ANNA PHOTOGRAPHY (THE RANCH MINE); COURTESY OF STUDIO UNA (STUDIO UNA); COURTESY OF SKINNY LAMINX (SKINNY LAMINX)
director Rob Hewitt says, “When Bold Italic
we were choosing the two new Black
typefaces (right), it was important
COMMUNITY
that they were practical and “The Bauhaus aimed to unite artists,
architects, and craftsmen in the uto-
pian project of designing a new world.
utilitarian while having their own

The legacies of the Bauhaus are visible
today.” the harvard art museum
Maax Regular 8.25 / 9.75
“The Bauhaus aimed to unite artists,

individual character in keeping pian project of designing a new world.

The legacies of the Bauhaus are visible
today.” the harvard art museum
Medium 8.25 / 9.75
with the spirit of Dwell.” “The Bauhaus aimed to unite artists, architects, “The Bauhaus aimed to unite artists,
pian project of designing a new world.
The legacies of the Bauhaus are visi-
and craftsmen in the utopian project of ble today.” the harvard art museum
Maax Bold 8.25 / 9.75
dwell.com/dwells-new-look designing a new world. The legacies of the Bauhaus “The Bauhaus aimed to unite
artists, architects, and crafts-
men in the utopian project of
are visible today.” the harvard art museum designing a new world. The
legacies of the Bauhaus are
visible today.” the harvard art
Maax Medium 30 / 34 museum Maax Med 11 / 12
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vitsoe.com/ten
backstory TEXT BY PHOTOS BY
J. Michael Welton Chris Edwards
Shelter From
the Storm
After three years of legal wrangling,
^ĭÓĚûĔ¶ŇƩŜĭÓñļÇŜÓ¶Ó
ĚļƙĔÓĚſķŇÇÓſļÇſÓķĔŇķÓŬ
Building a house often leads down

unexpected roads, but the challenges
architect Louis Cherry and Marsha Gordon
faced were more unpredictable than most.
Both say the design and construction
phases paled in comparison to a different
challenge: the legal battle to prevent the
teardown of their new home.
The couple started collaborating on the
house in 2012, when they began scouring
the historic Oakwood district of Raleigh,
North Carolina, for a buildable site. “We
H6C6G6CJ=F4<JE@Ǝ?52G6CJE:?J=@EE92E
was empty, in the perfect neighborhood
in proximity to downtown,” says Marsha, an
2DD@4:2E6Ǝ=>AC@76DD@C2E%@CE92C@=:?2
State University. “Our goal was to build
a just-right house—no bigger than it needed
to be—and walk or ride bikes to downtown
Raleigh in ten minutes.”
The 50-by-100-foot lot is small, but that’s
not unusual in Oakwood. Once the pair
3@F89E:EOE96J3682?E@56Ǝ?6E96:C?665DN
That included a shop for Louis—a wood-
worker and furniture maker, he milled
and fabricated most of the joinery in the
house—plus a studio, bath, and multifunc-
tional space for living, cooking, and dining
In a historic section of Raleigh,

North Carolina, a modern home
designed by Louis Cherry became
the subject of a lengthy court battle.
The house is clad in local cypress
and HardiePanel siding in Stormy
Monday by Benjamin Moore.

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backstory
at ground level. One bedroom, two baths, The modern exterior of the home including the fabrication of the
and a den would make up the second story (below left) upset the couple’s neigh- white oak stair treads (below). The
bor, a real estate agent who felt the ironwork was crafted by Alex and
of the 2,150-square-foot house. design would have a negative impact Gio Welding. A Glo Ball pendant by
But in November 2013, just weeks after on property values. Louis did much Jasper Morrison for Flos hangs in
they broke ground, a neighbor appealed the of the woodworking in the house, front of the staircase.
9@FD6kD46CE:Ǝ42E6@72AAC@AC:2E6?6DDO
granted by the Raleigh Historic Develop-
ment Commission (RHDC). At issue for the
neighbor, who lived in a traditional house
built in 2008, was the new home’s modern
exterior, which Louis had designed.
Of all the styles in Oakwood—Victorian,
Italianate, Greek Revival—Louis zeroed in
on the language of the Arts and Crafts
movement, reinterpreting it for the 21st
century. “I felt it could be best adapted to
my own sensibilities, like using local mate-
rials, simplicity, expression of structure—
even the fenestration patterns,” he says.
The 2013 appeal by the neighbor, who
declined to comment for this story, was the
opening salvo in a testy three-year battle
that wound its way to the state’s supreme
court, threatening demolition and halting
work for months in 2014. “We were picking
out tile when we realized we’d have to stop
construction,” Marsha says.
Calling the new home “garishly inappro-
priate,” the neighbor’s appeal was to be
heard by Raleigh’s Board of Adjustment.
“The structure as proposed is incongruous
to the Oakwood Historic District,” the com-
plaint stated. “It will harm the character of
the neighborhood and contribute to ero-
sion of the neighborhood’s value as an asset
to its residents, to the surrounding com-
munities, to the businesses it supports, to
in-town and out-of-town visitors, and to
the City as a whole.”
ŹÓĚļûÓķſŇĚĭÓÇĚļƙĔÓĭÓûĭ
ƆĚƙƩƙĚŇļÇÇÓÇĭŇƙŇìƙĚķÓƙŇ
ŇƩſƩĚĭÇĚļûŜĭļŬ2ƙûǗÓƩƆƙĔÓ
opportunity to think about our
ÇÓ¶ĚƆĚŇļƆļÇñļÓĘƙƩļÓƙĔÓÇÓƆĚûļŬź
Louis Cherry, architect and resident

backstory
The first floor’s open plan combines chairs by Jean Prouvé for Vitra sur-
kitchen, dining, and living areas; round the beeswax-coated steel
rift-sawn white oak planks line the dining table (left). Beneath the white
floors throughout. “It’s a tremendous oak cabinets, ash limestone tiles
enhancement of our life together,” from Artistic Tile’s Vestige collection
Louis says of the layout. Standard form a chevron pattern (below).
Design Docket
How a house made its way to the
North Carolina Supreme Court
October 2013
Louis Cherry and
2013
Marsha Gordon
break ground on a
modern home in the
historic Oakwood
section of Raleigh,
North Carolina.
November 2013
A neighbor
appeals the proj-
ect’s certificate of
appropriateness.
2014
February 2014
Raleigh’s Board of
Adjustment reverses
the approval, halting
construction.
April 2014
In Vanity Fair, Paul
Goldberger writes
that the house is “an
example of modern
architecture trying
hard . . . to be a good
2015
neighbor.”
September 2014
A judge rules that
the neighbor’s
case has no legal
ground; construction
resumes.
Since Louis and Marsha had followed legal defense fund for all threatened mod- November 2014
RHDC’s rules, and were told the appeal pro- ern homes in the state. The couple would Marsha and Louis
ceedings would be a formality, they did ?665E92EƎ?2?4:2=96=AOE9@F89E96:C move in. Construction
not attend the hearing, where the neighbor expenses would far exceed the approxi- continues for the
2016
and her lawyer presented for three hours. mately $25,000 the fund raised. next year.
After reviewing the argument, the BoA voted In April of 2014, Marsha and Louis February 2016
E9C66WE@WEH@E@C6G6CD6E969@>6kD46CE:Ǝ- obtained an injunction in Wake County
After the neighbor
cate of appropriateness in February 2014. Superior Court to allow construction to appeals, a judge
At once, support for the couple poured prevent damage to the structure. By August, rules in favor of
in, from neighbors, from the media—most the case was being heard in court. The cou- Louis and Marsha.
notably Paul Goldberger in Vanity Fair and ple’s attorney, Nick Fountain, was no August 2016
Al Roker on Today—and from homeowners stranger to design: A former chair of the
The state supreme
across the nation who had been subjected )kD6CE:Ǝ42E6@7AAC@AC:2E6?6DD court denies the
to similar cases of NIMBY-ism. North Committee, he owns the Fadum House, neighbor’s petition
Carolina Modernist Houses established a one of Raleigh’s iconic modern homes. for a second appeal.

backstory
Cherry-Gordon Residence N
ARCHITECT Louis Cherry Architecture

LOCATION Raleigh, North Carolina
D
C
F
E
A
B
A
Second Floor
First Floor
G H
A
M K J I
N L
A Bathroom H Dining Area

B Studio I Office/Guest Room
C Master Bathroom J Living Area
D Master Closet K Kitchen
E Master Bedroom L Deck
F Den M Screened Porch
G Entrance N Garage
On September 15, 2014, Judge Elaine

Bushfan ruled that the neighbor couldn’t
prove she would “suffer an immediate or
threatened injury distinct from the general
community.” It wasn’t the court’s place to
reweigh the home’s appropriateness, she
said, and, since procedure was followed,
there was no ground for contesting the
approval. Louis and Marsha immediately
ramped up construction, but when they
moved into the house in November 2014,
:EH2D?@>@C6Ǝ?:D965E92?E96:C42D6N
After the neighbor appealed Bushfan’s deci-
sion, a state appeals court ruled in the

couple’s favor in February 2016. Six months
later, the state supreme court denied the
neighbor’s petition for a second appeal. Marsha and Louis collect herbs and the metal roof is by Galvalume
“People have a right to express their in a garden by their screened porch (above left). “I feel lucky to contrib-
(above). The home’s exterior ute to the architectural diversity in
desires,” Louis says, now happily home. cypress cladding is finished with the neighborhood with something
“If you’re not harming someone else, you Sikkens ProLuxe Cetol stain in Teak. truly of this moment that got built
can build the house of your dreams.” The windows are by Jeld-Wen, despite the odds,” says Marsha.

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houses we love
“Simple rectangular Inside the dwelling, which

volumes with simple details” is entered via a bridge that
is how designer Thomas pierces the 25-foot-high
Egidi describes the house main facade, the view
he created for architect opens up to a panorama of
Carlos Dell’Acqua in Malibu. mountains and sea. Ipe floor-
“I wanted to stress its hori- ing is used for the walkway
zontality,” Dell’Acqua notes. and throughout the interior.
96
TEXT BY PHOTOS BY
Sarah Amelar John Ellis
Facing the Elements

Incorporating concrete, glass
wood, and steel, a house in Malibu
stands up to its challenging site
Carlos Dell’Acqua’s decision to build a

home on a steep site in Malibu began with
a chance encounter. In late 2000, he was
hiking and paused at a vacant lot to catch
his breath and take in the spectacular view.
Suddenly, a neighbor appeared. “Nice, isn’t
it?” she said. “But it’s not for sale!”
Dell’Acqua, an Argentine-born art
collector and architect-turned-travel-
entrepreneur, wasn’t looking to move from
his Santa Monica apartment. But the
neighbor, a realtor, insisted on exchanging
business cards. Dell’Acqua forgot about the
conversation, but several months later,
while in China, he received a message from
her that the property was available.
The 0.45-acre parcel (plus a small, non-
adjacent credit lot) was bargain priced.
“I thought: What could go wrong?” he
recalls. “I made my offer from China, but
all the way home, I kept thinking: Oh, what
did I do?” Wisely, he had negotiated a
contingency that the lot be buildable. And
so began his 14-year odyssey—stymied
at times by coastal regulations—from pur-
chase to completion.
Although trained as an architect,
Dell’Acqua chose not to design his own
house. After working for Richard Meier &
Partners for eight years on the Getty
Center, he “went through postpartum
56AC6DD:@?H96?:EƎ?:D965l:?O96
says of the complex project he helped

houses we love
The kitchen features Pendants from Finnish

PaperStone counters, Design Shop light a
IKEA cabinets, and a table by carpenter Leo
Whirlpool induction LaPlante. The Eames
range with a Jenn-Air chairs are from Design
downdraft vent (left). Within Reach (above).
Casa Dell’Acqua N
bring onto computers, well before that was DESIGNER Thomas Egidi, Tuna Studio
the industry standard. He then took a leave LOCATION Malibu, California
of absence, largely in Cuba, and envisioned
a travel business, now called Art Quest A Laundry E Office/Mezzanine I Deck M Living/Dining Area
B Garage F Master Bedroom J Bedroom N Kitchen
International, which curates trips, typically
C Bridge G Master Bathroom K Bathroom
for museum directors and trustees. “I was D Entrance H Dressing Area L Terrace
just following my passions,” he says, “art,
I
architecture, and travel.”
For his home, he turned to local designer A
Thomas Egidi, of Tuna Studio Architecture, G J
whose minimalist work, with its exposed
concrete and metal details, Dell’Acqua had B
F H
admired. Together, they settled on a
D496>67@C2O WDBF2C6W7@@E9@FD6H:E9 K
2W7@@EW=@?87C@?EH2==2?52DE66=W7C2>65
entry bridge spanning the hill’s precipitous
D C
drop. “The brief was to do something very D
simple and close to the street,” says Egidi.
From the road, the house looks like a
freestanding plane. But once across the
bridge and through a central opening in C
the wall, you begin to see the volumes hid- L M
Upper Level
Lower Level
den behind it. “It’s a blind wall,” Dell’Acqua

says. “But then you enter, and wow! That’s E
one of my favorite moments.” Suddenly, N
G:6HD@A6?E@E96=:G:?8C@@>_@?6Ə@@C
below), out to a terrace with a small swim-

ming pool, and beyond to a panorama of
mountains cascading into the ocean.
The wall—which changes imperceptibly, “We tried to keep the material choices
but economically, from cast concrete at the to a minimum. Because the
bottom to troweled stucco above—also
serves key functional roles. It retains the
ĔŇƩƆÓĚƆĚļñſÓ¶ŇƩļƙſǞÂĚƙĔÇƙŇÓ
slope and conceals electricity-generating ñſÓĘſÓƆĚƆƙļƙŬź Carlos Dell’Acqua, resident

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houses we love
photovoltaics on the roof. For additional a poolside shower exposed to the elements Lounge chairs by B&B the most used thing
privacy, a “smart” glass front door instantly yet concealed from outside view. Italia on the lower-level in the house—even in
terrace offer a spot from the middle of winter.”
switches from transparent to opaque with On his global jaunts, Dell’Acqua hand-
which to take in the Cantilevered over the
a tap of Dell’Acqua’s phone. A:4<65=:89EƎIEFC6D7C@>:?=2?5O=F>36C ocean views (below left). hillside is a stainless
Just over the threshold, two rectangular from Holland, and textiles from Argentina. Of the outdoor shower, steel pool by Bradford
G@=F>6DƏ2?<E96A2DD286H2JOH96C62 Also, Egidi recalls, “Carlos would send me Dell’Acqua says, “It’s Products (below).
stair winds down to the lower level. One pictures of things he encountered—like a
H:?84@?E2:?D29@>6@7Ǝ46H:E9E96=:G- backsplash that I then reinterpreted.”
ing-dining-kitchen area below; the other “The upside to spending so many years
houses the garage over the guest and mas- imagining my house is that I had time to
ter bedrooms. Throughout the structure, think about every detail,” says Dell’Acqua,
6IE6C:@C2?5:?E6C:@CDA246DƏ@HE@86E96C who shares the home with his partner and
and share a material palette. Evoking a their chocolate Lab. The furnishings are
beach boardwalk, ipe planking leads from primarily white, gray, and black, with blue
the outdoor entry bridge into every room accents, echoing the water, a theme in
and out onto the terrace. Dell’Acqua Dell’Acqua’s contemporary art collection.
selected ipe to “soften” the palette of con- Now when Dell’Acqua is home, he says,
crete, glass, and steel, but also for its dura- “I feel like I’m on vacation. I never get tired
3:=:EJ2?5ƎC6C6D:DE2?46N ?2?@E96C of it.” The changing light and tides
indoor-outdoor feature, the front wall has constantly bring unexpected moments,
the same raw, unpainted quality on its he adds, “like when I’m sitting in the living
exterior and interior surfaces. And in back, room, and the rim of the glass rails
sliding glass panels open the living room exactly meets the horizon line. How could
and master bedroom to the terrace, with you possibly plan that?”

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TEXT BY PHOTOS BY prefab
Elaine Louie Christopher Churchill
Across the Ocean

With a novel use for an ultra-lightweight
material, two academics build their ideal home—
then ship it overseas for assembly.
Resident Débora Mesa Molina, an

architect and research scientist,
lounges in a hammock in the living
area of the steel-and-foam prefab
addition she and her husband, Anton
Garcia-Abril, designed in Madrid,
Spain, and assembled in nine days
in Brookline, Massachusetts.
On a quiet, tree-lined street in Brookline, the structure does not shock; its scale and
Massachusetts, a rectangular pale gray colors are subdued. But the journey of the
structure sits amid a row of wood-frame home’s conception and design—prefabri-
houses, many of them dating to the late cated in Madrid, Spain, sent overseas via
19th century. The boxy two-story dwelling shipping containers, and assembled on-site
is set back from the suburban block, its in just nine days—is wholly radical.
facade almost entirely opaque, save for Called the Cyclopean House, it’s at once
a 40-foot-long expanse of glass that faces a home and a portfolio piece for Anton
the street. Despite its stark modernity, Garcia-Abril, a professor at the School of

prefab
Architecture and Planning at Massachu- j ?*A2:?Ol@776CDě3@C2Oj9@>6D2C6 The main living area, on the home’s
setts Institute of Technology, in Cambridge, traditionally built with bricks, stone, second floor, was designed with
and his wife, Débora Mesa Molina, a research 2?54@?4C6E6OlF?=:<6:?E96,?:E65*E2E6DO flexibility in mind; its centerpiece
is a ping-pong table from Joola
scientist, also at MIT. where homes are often built with wood (above). Anton and Débora “hacked”
Both registered architects in Europe, they 7C2>:?8OH9:4942?56E6C:@C2E6Nj.@@5 several Copa convertible sofas from
are the principals of Ensamble Studio, an C6BF:C6D>2:?E6?2?462?5A2:?E:?8OlD96 Serta, removing the legs so they
2C49:E64EFC6AC24E:46H:E9@7Ǝ46D:?$25C:5 ?@E6DNj E4C24<DN E>@G6DNl could place the seats directly onto
the elevated platform that lines the
and Brookline. They are also codirectors .96?E964@FA=6H6C69:C653J$ +:?
walls. They also altered Lersta floor
of POPLab (Prototypes of Prefabrication 2012, they bought a 30-by-40-foot cement- lamps from IKEA and wall-mounted
Laboratory), a research lab at MIT, and they block garage for $320,000 from a former them as sconces. Sliding wall pan-
are builders. Completed in 2015, the home construction company, had it rezoned for els conceal several storage spaces,
:DjE96ƎCDED@?@7E96=23OlD2JD?E@?N residential use, renovated it into a three- including a king-size Murphy bed.
Among Ensamble’s goals is to bring bedroom home for $100,000, and then
ultra-light, strong, reasonably priced, well- moved in with their four children the fol-
designed prefabricated housing that offers =@H:?8J62CN.:E9A=2?DE@6G6?EF2==J3F:=5
generous space and great light to a mass a prefab addition, the couple honed their
housing market, working with developers observations into a central inquiry: How
and sponsors to counter popular miscon- could they make a fairly priced and light-
ceptions that plague both categories. weight yet solid house that was neither
Mention the topic of prefab, and “people wood-framed nor made of bricks, stone, or
think of trailer houses, social housing, concrete? Since 2011, the couple had been
3@C:?8C6A6E:E:@?Ol?E@?D2JDNj.6H2?E experimenting with lightweight construc-
E@4@>3:?6E96>6C:42?67Ǝ4:6?4J@7 tion technologies, partly in response to the
a framed structure—putting studs close tsunami and earthquake that had damaged
together to create a well-distributed wall— N>:==:@?9@>6D:?!2A2?kD+Ō9@<FC68:@?
H:E9E96FC@A62?:562@7D@=:5:EJNl that March. The answer, they found, was
110
Cyclopean House N
ARCHITECT Ensamble Studio

LOCATION Brookline, Massachusetts
Mezzanine
H
First Floor Second Floor Roof
D B
B B
A I
G
C
A
E
E F
A Bedroom D Laundry G Terrace

B Bathroom E Living Area H Mezzanine
C Kitchenette F Study/Bedroom I Kitchen
Opting for a lightweight, super sta-

ble design that eschews traditional
weighty materials, the architects
created steel-reinforced panels of
expanded polystyrene foam (EPS)
to form each of the addition’s seven
modular parts. They now top a pre-
existing concrete garage that the
architects had previously converted
into a three-bedroom home (above).
Featuring double-height ceil-

ings, the prefab addition includes
a mezzanine level (left); Anton
and Débora, who are codirectors
of MIT’s POPLab (Prototypes of
Prefabrication Laboratory), use
the space as their home office.
Below the mezzanine, sliding
panels reveal a volume contain-
ing the kitchen workspace.

prefab
to use EPS, short for expanded polystyrene

foam—a common and extremely light-
weight material whose composition is
98 percent air.
Devising a modular design made from
a panel system, they created I-beam-shaped
panels with a foam core, which they rein-
forced with bands of cold-formed steel.
To make each module weatherproof, rigid,
2?5ƎC6WAC@E64E65OE96E62>E96?4=25E96>
:?46>6?EƎ36C3@2C5O24@>A@D:E6>256
of 95 percent cement and 5 percent sand
2?546==F=@D6Ǝ36CDN+962C49:E64EDAC6723-
ricated the panels in Madrid, purchasing
materials locally to build the parts in their
workshop, and collaborated with building
engineer Javier Cuesta—“our master builder,”
says Débora—and others at Ensamble
Studio to make the panels by mechanically
screwing the parts together. “It was more
work than if they had been welded together,
but when you weld, you break the galva-
nized steel, you burn it,” Anton explains.
Creating eight wall panels, nine roof
slabs, and ten trusses in all, they embedded
windows into the frame, specifying acrylic
because it’s “cheaper, lighter, and more
C6D:DE2?EE@Ə6I:3=64@?DECF4E:@?Ol9625565N
*:K65E@ƎE?62E=JH:E9:?DE2?52C5D9:AA:?8
containers—which measure 40 feet long by
8 feet wide by 8.5 feet tall—the modules
were then transported continued on page 129
A three-level bunk bed with an

additional trundle furnishes the chil-
dren’s room on the first floor; the
cabinetry and drawers are from IKEA
(above). A hatch door leads to the
roof deck, which is lined with artifi-
cial turf (left).

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New York | Los Angeles | San Francisco | Washington, D.C. | Toronto | Vancouver | Calgary | Montreal | Mexico City
TEXT BY outside
Laia Garcia
Garden Variety
A retired couple looking to
ÇŇǘļƆĚǤÓñļÇƙĔÓƆŇĭƩƙĚŇļſĚûĔƙ
ĚļƙĔÓĚſŇǘļ¶ĪǞſÇ.
When Mexico City residents Nina

PHOTOS: PAUL CREMOUX
Wanderstok and Raúl Cremoux

were ready for a smaller house, they
turned to their son, architect Paul
Cremoux. The two-story structure
he designed preserves open space
on the property to support ground-
water recharge in accordance with
strict local zoning regulations.
115
outside
Filters purify rainwater that drains

from the roof or through the wood-
plastic composite deck (below).
A cistern collects the water for indoor
use (see infographic on page 118).
Paul Cremoux, an architect based in

Mexico City, never thought he would build
a house for his parents. “No,” he says,
laughing, “but they insisted, because they
loved the house I made for another client.”
Paul’s parents—Nina Wanderstok, a
retired interior architect, and Raúl Cremoux,
a retired writer and political consultant—
were already feeling like the house where
they had lived and raised their children was
much too large for the two of them. When
Nina and Raúl visited Casa CorManca,
2C646?E=JƎ?:D965AC@;64E@7'2F=kDOE96J
immediately fell in love with it. CorManca, In choosing materials, Paul evaluated and white paint (top). “Not a drop
their efficiency—and was surprised of water is wasted here,” Nina says
a small residence of about 1,700 square feet, to find that local wasn’t always best. of the yard (above). “This is huge
opened up the possibility that they In one nod to Mexican design, the for Mexico City. The whole terrace
could have their dream home without structure is finished with fine plaster is a water collector.”

outside
Storing Rain
In a city that struggles with groundwater issues, the Cremoux-Wanderstoks harvest their own rainwater.
1 2 3 4
Sand and Gravel UV Filter Carbon-Activated Underground Cistern
Filter cleans out leaves, kills bacteria Filter further holds 2,100 gallons of potable
soil, and small rocks and germs reduces pollutants water, enough to last until the
next rainy season
needing an expansive lot to make it happen. buildings in order to allow the ground- collector. Underneath it, a receptacle made
They decided to ask Paul to build a new water reserves, the source of much of the @74@?4C6E62?5Ǝ?:D965H:E92-&X7C66
house in the garden of their existing home. 4:EJkD5C:?<:?8H2E6COE@C6Ǝ==N+9:D>62?E paint collects the water. When it rains, the
“We share Paul’s ideas about the impor- Paul would have about 1,400 square feet for H2E6CƏ@HDE9C@F892D6C:6D@742C3@?W
tance of contemporary, sustainable build- the footprint. “The limits can be very strict, 24E:G2E65Ǝ=E6CDE92E6?23=6E969@FD69@=5
ings,” Nina says. according to the zone in which you’re try- to subsist on rainwater for all its fresh-
'2F=72465EH@>2:?492==6?86DP+96ƎCDE ing to build,” Paul explains, “so we decided water needs. Although this does have the
was a budget of just about $210,000. The to take it a step further. That’s where the added advantage of saving money (water
second was the fact that he could build on idea of building a cistern to take advantage bills are around $10 a month), Paul is more
only 60 percent of the available plot, due to of all the rainwater originated.” :?E6C6DE65:?:ED64@=@8:42=36?6ƎEDN
a law in Mexico City that requires that a The new structure’s deck, made of a The terrace quickly became one of the
percentage of the land be left without wood-plastic composite, acts as a water home’s main attractions, not only because
ILLUSTRATION: TIM VIENCKOWSKI
A custom aluminum-framed skylight door is made of MDF panels attached

with a 3M solar membrane floods to a wood frame and topped with an
the bathroom shower with light; ash veneer (right). The tiles are from
the fixture is by Castel (above). The Spanish brand Vives.
118 J
Custom Elements - 70776, BC
10
Lindal Delivers the Preeminent “Prefab”
REASONS
4 Predictability
Lindal understands that a great design
will only become a great home if it
can be built and is on budget. Lindal’s
business model is in harmony with
that principle.
Through systematic perpetual

estimating – providing estimates at
every phase of design – Lindal dealers
inform clients of the evolving cost of
their home to enable adjustments and
to ensure that their Lindal designs will
become their great homes.
Discover the nine other reasons

Lindal is the Preminent “Prefab”
at Lindal.com/systems
Custom Elements - 70749 ON
outside
of its sustainable qualities, but also because always asks how it’s possible we have only
it offered a chance to expand the living 170 meters,” Nina says of reactions to the
space outside with a pair of sliding doors. 1,775-square-foot residence. “Really, it’s
“Because the house is so small, that was just the staircase, the open kitchen space,
a fundamental design decision,” Raúl says. and the height of the ceilings that add up to
j&?46J@F@A6?E965@@CDOE96DA2465@F- make it feel huge.”
bles. It’s perfect for entertaining family and After eight months of construction, the
friends, which we love to do.” Cremoux-Wanderstoks were able to move
Another interesting feature is the library, in. Now they rent out their previous resi-
which occupies the space surrounding the dence, since, as Nina says, they “made sure
staircase. “As my parents are of a certain that the new house did not take anything
age, it probably would have been better to away from the old one. It has a separate
make the house just one level,” Paul says. entrance; it has its own garden. All of the
But because of the land-usage law, a two- old house’s essential qualities remain.”
level structure was the only way to create “The house didn’t have a big budget, but
the room his parents needed as well as it feels expensive, because of the high ceil-
accommodate his dad’s sizable collection of ings, the skylights, and the amount of light
books. “It was obvious the stairwell would that comes in from outside,” Raúl says of his
be best suited for the books because of its son’s design. “From the beginning, we knew
double height,” Paul explains. “Everyone it was going to be a very livable home.”
Casa Nirau N
ARCHITECT Paul Cremoux Studio

LOCATION Mexico City, Mexico
Lower Level
B C D
A
G E
Upper Level
K L
H
H I J
A Entrance F Deck
B Bathroom G Living Area
C Kitchen H Balcony
D Bathroom/ I Studio
Laundry J Master Bedroom
E Dining Area K Walk-in Closet

L Master Bathroom

outside
Floor-to-ceiling aluminum doors area’s aluminum window frame was explains. A pair of Molded Plywood
slide into the walls, bringing the custom cut onsite to wrap around lounge chairs by Charles and Ray
outside world in and doubling the a corner (top left). A reveal in the Eames for Herman Miller sit oppo-
size of the living room (left). “It con- studio ceiling provides a track for site a BoConcept coffee table and
verted the space into something curtains—and highlights an architec- a sofa of Paul’s design (above). For
truly extraordinary, surrounded by tural detail (top right). “I like to show his father’s book collection, Paul
vegetation. The climate in Mexico is the difference between the interior created a library around the double-
perfect for it,” says Nina. The dining ceiling and the structural roof,” Paul height staircase.
121
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sourcing
The products, furniture, architects, designers,

and builders featured in this issue.
Cover Chairs by Harry Bertoia for Garcia Brothers Landscaping Metal siding by Galvalume drawer pulls by 12th Avenue
Knoll castandcrewmarfa.com 415-577-0307 galvalume.com Iron 12thavenueiron.com
Christopher C. Deam Concrete floor sculptures by Posture Chair and Ottoman Alberton series stainless steel All windows and sliding doors
Architecture cdeam.com William Vizcarra Sets in orange, Geo Pillows, cookware by Paderno from Quantum
Lounge chairs, planters, and wrongmarfa.com Hexagon Concrete Planters, paderno.com quantumwindows.com
pillows, all by Modern by Dresser by George Nelson and Terracotta Planters, Lantern in Windows by Alumicor Smith pendants from Resolute
Dwell Magazine home Elvis painting, both vintage silver, Outdoor Sofa and alumicor.com resoluteonline.com
collection for Target reevesantiqueshouston.com Cushions in gray, Outdoor Baby Chef kitchen faucet by Dishwasher, oven, and range
target.com Pink neon lighting by the Neon Dining Set and Seat Cushions, Aquabrass aquabrass.com/en from Miele miele.com/en
Gallery theneongallery.com Building Pillow, Tower Pillow, Oven by Whirlpool Refrigerator from Liebherr
23 Mean Mug Fireplace by Malm Elephant Playing Card Figural, whirlpoolcorp.com liebherr.com
malmfireplaces.com Owl Speaker Figural Natural, Nandor chairs by Mikael Outdoor lounge chairs from
Shapes mugs by Ian Anderson Pee-wee Hermann blown up Whale Coaster Figural Natural, Warnhammar and modular Crate and Barrel
for AANDERSSON from postcard and hand-tinted Side Table, Cocktail Shaker in dining tables by Lisa Norinder, crateandbarrel.com
aandersson.net by Barbara Hill Design black/copper, Ice Bucket with both from IKEA ikea.com Bar stools by Tirto Furniture
barbarahilldesign.com Tongs, Wingnut Candleholders, Carter sectional sofa by Gus tirtofurniture.com
36 Undivided Attention Pulpoetry series chair by Stoneware Bark Vases, and Modern gusmodern.com PentalQuartz and marble, both
Barbara Hill Decorative Tray Narrow in red, Gray carpet from CB2 from Pental Surfaces
Miya Shoji miyashoji.com barbarahilldesign.com all from the Modern by Dwell cb2.com pentalonline.com
Casalino chair by Alexander Magazine home collection for Adirondack chairs by Zwickers Custom kitchen island by Nu
42 Geological Formation Begge from Design Within Target target.com Woodworking zwickerltd.com Elegance nuelegance.com
Reach dwr.com Pass-through window from Floor lamp, vintage Spark fireplace and custom
Alan Nicolson Design Studio Faux Bois Stump coffee table Fleetwood fleetwoodusa.net kijiji.ca plaster box by Studio C
andesignstudio.com by George Sacaris sacaris.com Kitchen sink and fixtures by Platform bed designed by MLS cathyconner.com
Hawkes Construction Black cowhide rug and Blanco blanco-germany.com Architects, fabricated by Kitchen faucet by Hansgrohe
hawkesconstruction.com barware, both vintage Countertops from Caesarstone Canterbury Woodworks hansgrohe-usa.com
Rammed earth by Rammed Floor lamp, vintage caesarstoneus.com canterburywoodworks.com Clay mobile by Anne Siems
Earth Builders uptownmodernaustin.com Nelson Ball Clock by Irving Swing 85 bathroom sink by annesiems.com
rammedearthbuilders.com Ghost sofa by Gervasoni Harper for George Nelson Artceram artceram.it/en Stockholm rug from IKEA
Structural engineering by gervasoni1882.it/en Associates by Vitra ikea.com
Endrestudio endrestudio.com Quivers wall sculpture by vitra.com 70 Please Cincinnati Side table by Flexform
Civil engineering by PJC Claire Cusack Sectional by Thayer Coggin flexform.it/en
Associates clairecusack.com thayercoggin.com Please pleasecincinnati.com Rocking chair, vintage
pjcassociatesinc.com Luxembourg bar cart by Barcelona Chair by Ludwig Drawing Dept Cement board by Richlite
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Associates Min bed by Luciano Bertoncini knoll.com Sansalone & Associates
lutskoassociates.com for Design Within Reach Eames Aluminum Group Chair sansalone.associates 90 Shelter From the Storm
Smith Concrete 707-391-4026 dwr.com by Charles and Ray Eames for Dining sets by Brush Factory
Standing-seam metal roof by Table lamp, vintage Herman Miller brushmanufactory.com Louis Cherry Architecture
Metal Sales metalsales.us.com castandcrewmarfa.com hermanmiller.com Dishware by CG Ceramics louischerry.com
Fixed glazing by Fort Bragg Bruce Lee skate deck by Atlas coffee table by Brad cgceramics.net Kaydos Daniels Engineers
Glass and Mirror Supreme exhibitions2d.com Ascalon bradascalon.com Stools by Simple Wood Goods kaydos-daniels.com
fbglassinc.com Chartreuse throw from El Rug from Crate and Barrel simplewoodgoods.com LightTech Design
Operable glazing by Cosmico elcosmico.com crateandbarrel.com Bread bowls and coffee trivets lighttechdesign.com
Fleetwood fleetwoodusa.net Planters from Brown Dog John Vogel Chairs by John by The Northern Market etsy. Carrington Electric
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Innovations Acapulco chairs by Barbara Table, and Stackable Chairs, Wine books and check folders, wordpress.com
solarinnovations.com Hill shopsaintcloud.com all from West Elm both by Pull Club Solar panels by Yes Solar
Bed frame, residents’ own westelm.com pullclubstudio.com Solutions
design 52 Moving Mountains PH 5 pendant by Poul Menus by Philip Valois yessolarsolutions.com
Henningsen for Louis Poulsen philipvalois.com Geothermal engineering by
46 Smaller in Texas Christopher C. Deam Lighting louispoulsen.com Bowman Mechanical Services
Architecture cdeam.com 78 Greener Grass bowmanmechanicalservices.com
Barbara Hill Design Marinovative Construction, Inc. 62 Lights Will Guide You Home Icynene Foam insulation by
barbarahilldesign.com 415-713-1250 mw|works mwworks.com Prime Energy Group
Marginot Builders Marfa Pheif Engineering Brian MacKay-Lyons, MacKay- Treebird Construction prime-energygroup.com
432-386-2590 415-381-8150 Lyons Sweetapple Architects treebirdconstruction.com North Carolina cypress
EasyCare paint in Ultra Braintree Woodworks Ltd. mlsarchitects.ca PCS Structural finished with Sikkens ProLuxe
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Paint truevaluepaint.com Custom cabinetry designed by +1 902-275-1464 Hardscapes by Wittman Estes perfectwoodstains.com
CF Panel roofing by Mueller Christopher C. Deam and Campbell Comeau Engineering wittman-estes.com HardiePanel siding by James
Inc. muellerinc.com fabricated by Bartlett Cabinets Ltd. campbellcomeau.ns.ca Custom walnut cabinetry by Hardie Building Products
Four dining table by Ferruccio bartlettcabinetry.com Millwork and cabinetry by GR Contour Woodworks jameshardie.com
Laviani for Kartell kartell.com Overtone Acoustics Kilgour Construction contourwoodworks.com Stormy Monday, Manual Iron
Refurbished Bertoia Side overtoneacoustics.com +1 902-275-1464 Custom metal backplash and Ore, and Silver Satin paints, all
Dwell® (ISSN 1530-5309), Volume XVII Issue 1, publishes six double materials. Subscription price for US residents: $28.00 for 10 issues. at San Francisco, CA, and at additional mailing offices. Canada
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?2E:G6Ə@H6CDNG6CJE9:?8:D4@?-
Undivided Attention
nected by breezeways and overhangs,
continued from page 41 so that even in the region’s wet win-
ters, the couple can linger outdoors.
straight with no knots. When the Despite living in the middle of
screen is constructed, its top must Seattle, Ian and Deb feel like they’re
always be made using the upper part in a bucolic setting. “Really, this
of the tree. Another important rule: home is the best of both worlds,
by Benjamin Moore Induction range, wall oven, When cutting, one has to carve from because if we want to go to a lecture,
benjaminmoore.com and refrigerator, all by
Siteline EX windows by Jeld- Whirlpool whirlpoolcorp.com the bottom to the top, never top to 2Ǝ=>O2A=2JO:EkD2==96C6Y@CH642?
Wen jeld-wen.com Downdraft vent by Jenn-Air bottom: “You must go the way the just stay home in this sanctuary, with
Standing-seam metal roof by jennair.com tree grows,” explains Hisao. Workers greenery all around us,” says Deb.
Galvalume galvalume.com Cabinets from IKEA
Custom ironwork by Alex and ikea.com
are trained to read the direction of “It’s a respite from city living.”
Gio Welding 919-259-2035 Chaise lounges by B&B Italia the grain. After the pieces have been
Glo Ball pendants by Jasper bebitalia.com/en measured, cut, and smoothed with
Morrison for Flos usa.flos.com Outdoor shower fixture by
Love seats, vintage Kohler us.kohler.com/us
a plane (shojis are never sanded), Across the Ocean
Standard chairs by Jean the supporting trellis is woven into
continued from page 112
Prouvé for Vitra vitra.com 109 Across the Ocean place. It is then that the rice paper
Custom woodworking, entry is inserted in the double frame. The
bench, and coffee table, all by Ensamble Studio
Louis Cherry louischerry.com ensamble.info men explain that the material isn’t to Brookline, where they were
Axor Citterio 2-Spray Semi- Tour 1500 Table Tennis table actually made from rice, but rather assembled on-site in just nine days
Pro faucet by Hansgrohe from Joola joolausa.com washi or shoji gum, which can be and built out in four months.
hansgrohe-usa.com Lersta floor lamps from IKEA,
Vestige tile by Artistic Tile altered by residents ikea.com >256@75:776C6?EA=2?EƎ36CDO 7ƎI:?8E96?6HAC6723255:E:@?
artistictile.com Copa convertible sofas by including mulberry and kozo. to the top of the former garage,
Six-burner range by Wolf Serta from Futonland, altered For Hisao, making shojis is about which rests on a four-foot deep foun-
subzero-wolf.com by residents futonland.com
Range hood by Kobe Bar stools from Flash Furniture
seeing, touching, and hearing. First dation, the architects placed 30 steel
koberangehoods.com flashfurniture.com you must look at the wood to under- studs, each four feet apart, around
Rift-sawn white oak cabinets Frameless induction cooktop stand it, then you must feel it in the the perimeter of the structure. Nine
by Decore-ative Specialities by Bosch bosch-home.com
D9@AO2?5Ǝ?2==JJ@F>FDE962C:E studs are placed along the long sides,
decore.com Wardrobe and shelving from
Cross pendant by Foscarini IKEA ikea.com when it’s sawed. “One way it sings; and six along the short sides. The
foscarini.com the other way it screams,” he says. panels were prefabricated with verti-
Quartz countertop in Concrete 114 Garden Variety For the Hanafusas, “When function cal holes four feet apart, so that they
from CityRock Countertops
vostoneinc.com Paul Cremoux Studio serves a purpose, the beauty shows.” D=:56@?E@E96DEF5DE@ƎIE96?6H
Ipe deck finished with Cabot’s paulcremoux.com/en structure to the concrete block walls.
Australian Timber Oil in General contracting by ARCO Since the couple had never built in
Amberwood cabotstain.com Arquitectura Contemporánea
Flower pots by Mark Hewitt ar-co.com.mx Greener Grass the United States before, they wanted
hewittpottery.com Lighting design by Grupo to work with a local contractor, but
continued from page 85
Selca selcailuminacion.com.mx discovered that many “don’t want to
96 Facing the Elements Flooring by Maderas Finas
do novel construction,” says Anton.
maderasfinas.com
Tuna Studio Architecture Pendant from IKEA ikea.com sits alongside a Restoration Hardware “If we had done it as standard wood-
310-841-2414 Eames Molded Plywood couch; a black-and-white IKEA frame construction, it probably would
Contracting by Matt Haines Lounge Chairs by Charles and rug perfectly matches the couple’s have cost a thousand dollars a square
310-924-9408 Ray Eames for Herman Miller
Structural engineering by hermanmiller.com Havanese dogs, Pippa and Dash. foot. Instead, we did it ourselves at
Sapphire Engineering Custom sofa by Paul Cremoux Deb’s found natural objects—includ- four hundred a square foot.” The new
Company sapphireeci.com Studio paulcremoux.com/en ing a dried-out wasp’s nest from house weighs less than 20 tons and
Custom stainless steel pool by Chiva coffee table by
Bradford Products BoConcept boconcept.com their previous house, a pair of owl’s is 30 percent lighter than standard
bradfordproducts.com Countertop by Caesarstone feet, and magnolia bud blossoms— wood-frame construction.
Fleetwood windows caesarstoneus.com/en adorn the walls and shelves. Proving that a prefab house could
customized by Malibu Glass Showerhead and bathroom
and Mirror malibuglass.net fixtures by Castel
Likewise, the landscaping feels successfully be made in Spain and
Eames Molded Plastic Chairs castel.com.mx integral to the architecture. Local shipped worldwide, the upstairs
and Armchairs by Charles and Bathroom tile from Vives ƎC>.:EE>2?DE6D56D:8?65E96 addition is a case study in speed and
Ray Eames, both for Herman vivesceramica.com/en
hardscapes, including the steel-mesh 67Ǝ4:6?4JNFE7@C?@HO:EkD2AC:G2E6
Miller dwr.com Wood-plastic composite
Custom dining table by Leo decking from Innover fence that’s intertwined with tangled space for the family, a playground for
LaPlante leolaplante.com innover.mx vines of clematis and honeysuckle E9649:=5C6?O2?529@>6@7Ǝ467@C
Secto pendants by Seppo to form a green living wall that also the couple. It’s 1,200 square feet of
Koho for Secto Design
finnishdesignshop.com For contact information provides privacy from the street. dramatic, open space—and the per-
Countertops by PaperStone for our advertisers, please Mature black pine trees were acquired fect place for Anton and Débora to
paperstoneproducts.com turn to page 127. from a friend’s nursery, roses tumble begin cooking up their next personal
against one side of the house, and lab project: a house in the Far
a river of stones hand-placed by Deb Rockaway neighborhood of New
runs along the courtyard. In back, York, a challenging waterfront site
raised metal beds host an array that’s sure to conjure another riddle
of vegetables and herbs, ringed by in need of a design.

TEXT BY
finishing touch Luke Hopping
Touch and Go
Optimized for apartments between Robotic furniture sounds less far-fetched when Yves Béhar and the MIT Media
300 and 600 square feet, the Ori Lab are involved. These high-profile ties are what make Ori, a series of self-
system resembles a room divider
rearranging units for living, working, and sleeping, possible. Using architec-
and can roll back and forth on
tural robotic technology born at MIT, each motorized Ori unit, designed by
RENDERINGS: ORI
motorized tracks. Certain units have

built-ins, like a sofa, desk, or bed. Béhar and his firm Fuseproject, can unpack furniture or glide on tracks across
a room with the touch of a button. Test units are already installed in micro-
housing developments in Boston, and Ori’s founder, research scientist Hasier
Larrea, says a wider launch is slated for mid-2017.

Turkel Design and Dwell are pleased to announce
0GY*QOGUHQTVJG0GY;GCT the second release of the Axiom / Dwell Prefab
Series. With more standard models designed to suit
New Axiom / Dwell Prefab Models a greater variety of budgets, sites, and lifestyles, your
personalized, highly-refined modern home is now more
accessible than ever.
Our suite of products and services is designed for

maximum building and living efficiency; a simple
clearly-defined process guides your project from
start to completion. The utmost in design flexibility,
material quality, and environmental responsibility offers
unparalleled peace of mind.
Visit us online or contact us to learn more about our

latest prefab series, view our digital planbook or attend
www.turkeldesign.com a free introductory webinar.
info@turkeldesign.com
tel | 617. 868. 1867 Explore our new designs and discover the home that’s
toll-free | 877. 710. 2518 right for you.
Turkel. This way home.

Sterling sofa, $1699; Sanders cocktail table, $699; Glen rug, $599.
roomandboard.com

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Universal Technology

Smart, Intuitive Apps to

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ON THE COVER: Judicious pops ABOVE: With its metal facade

BETTER LIGHTING. BETTER LIVING.

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A New your point of view. Tell us what you think of our

Beginning and we need your voice. We are not afraid of change.

Amanda Dameron, Editor-in-Chief

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the job site ready-to-be-installed.

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The American Way

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archive Camille Rankin

Lucienne Day, born in Surrey pets, ceramics, and silk mosaics.

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