Category Archives: Modern Houses

Ranch House Rides Again

From the Archives

We’re excited to present our new FLEXAHOUSE plan, commissioned from San Francisco architect Nick Noyes and inspired by his recent AIA-Sunset Western Home Award-winning ranch house in Healdsburg, California, shown below, photographed by Cesar Rubio.

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Below is a view of our  FLEXAHOUSE Great Room looking in the same direction, from the kitchen to the  living room.

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Note how Nick kept the vaulted ceiling, window wall, French doors, and general feeling of airiness, while adding  a brand new feature we call the “Flexawall,” which provides storage and display along one side of the Great Room. It’s a flexible feature because it can open toward the Great Room and to the entry hall behind it.

FLEXAHOUSE is  a “kit-of-parts plan”  because the key elements — Great Room, Master Suite, Bedroom and Bath Unit, Guest Suite, Garage, Flexawall, Entry, and Trellis — combine to form three different layouts (I-shape, L-shape, and T-shape) to suit various lot configurations.

Start with the core of  the plan, which is the Great Room,

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Then add the Master Suite,

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Bedroom-Bath Unit,

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and Garage

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and you have the basic house. Here’s the T-shape example in elevation (for a wider lot),

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and plan.

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FLEXAHOUSE comes in 3- and 4-bedroom variations for a total of 6 different plans, ranging from 2,254 sq. ft. to 2,580 sq. ft. You can change the orientation of the garage to enter from either side, instead of the front. Exterior siding options include stucco, shingle, and board-and-batten.

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Roof options are standing seam metal and composition shingle. The plan starts at $2,500. It has been engineered for seismic, snow, and hurricane zones.

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“The idea,” says architect Nick Noyes, shown above, “is to create a design that’s almost a custom home plan because of the many options you can select. All sites are different and require different design responses. The opportunity with FLEXAHOUSE was to create a design that was flexible enough — with three different arrangements of the basic elements — to conform to varying site conditions such as local solar orientation, views, and other particularities. By adding more bedrooms, changing the orientation of the garage, or choosing siding and roofing options you can create still more variations.” It’s also an eco-friendly house: Nick designed it on a 16-inch grid for maximum construction efficiency and minimum construction waste.

I think it’s an ingenious contemporary reinvention of the ranch house, bringing easy indoor-outdoor living ideas from the past into the 21st century. The design is informal and elegant at the same time, like Nick’s Healdsburg house,

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with it’s warmly inviting kitchen at one end of the Great Room (Cesar Rubio photo), which was our muse.  Let’s wrap a FLEXAHOUSE up for you!

Rethinking The Simple Home: Leon Meyer

Perfecting The Clean Well Lighted Space

I’m excited to present our latest exclusive plans from Melbourne, Australia architect Leon Meyer. They’re all about an artful and yet very practical simplicity. By concentrating on a few strong ideas — such as maximizing views, daylight, and connections to outdoor space — and by using a limited palette of materials Leon shows how to provide extra livability and character within an appealing modern esthetic. For example, in the kitchen of Plan 496-21 a long

narrow window band behind the sink turns what would have been an ordinary Continue reading

Farmhouse/Barnhouse Modern

Dreams of Fields

While in Chicago last week at the Reinvention Design Conference — a stimulating confab of architects who specialize in residential work — I toured a remarkable house with lessons for anyone interested in home design. Designed by Vinci/Hamp Architects, it’s a recent addition to the

historic Crab Tree Farm (a dairy farm) built in 1911. The crisp white gabled Continue reading

A Great Mid-Century Modern House in Honolulu

Hawaiian Mountain High: House as Wonder Drug

The best houses don’t just stand there, they teach. They provide comfort and a sense of place while radiating ideas and discoveries and refreshment long after they’re built. That’s the case with the very progressive Howard and Betty

Liljestrand house in Honolulu of 1952, shown here with its circular driveway and drive-through carport (no awkward — and retrogressive! — backing out of a garage here) by the great modern Hawaiian architect Vladimir Ossipoff, which I visited with my wife last month. The family is meticulously preserving it as part Continue reading

Architectural Real Estate and Home Office Ideas

 

 

Architecture Road Show

When I studied architecture in college it did not occur to me that the residential landmarks I was learning about — works by Frank Lloyd Wright or Louis Kahn, for example — could be sold or even changed. They existed in lectures as immutable ideals, much like paintings in a museum. So it’s exciting to realize how many architecturally significant houses are for sale at any one time. Here are three gems I just found on architectureforsale.com, a remarkable resource.

La Miniatura, in Pasadena, California, above, is one of Frank Lloyd Wright’s most famous houses from the early 1920s, after his return from Japan and work on the Imperial Hotel in Tokyo. Designed for his client Alice Millard as a way to take advantage of a difficult (and therefore inexpensive) site in a small ravine, it

was built of ornamented or “textured”concrete blocks in conventional mortar. He was evolving a less expensive version of masonry, aiming for an architecture that seemed to grow out of the land. He ultimately perfected a system of steel reinforced “textile blocks” that would be a way of knitting together engineering and architecture. The house has been beautifully restored, for at least the second time. I remember visiting during an earlier refurbishment and being struck by the way the house stepped down the slope to create a hidden indoor-outdoor world. You can have it for $4.495 million.

Or, on the same website, for much less money, how about Louis I. Kahn’s Esherick house in Philadelphia, of 1961, available for a bargain-sounding $1.25

million. This one bedroom, two story house has a monumentality that belies it’s

relatively small size, thanks to a rectilinear geometry, tall multi-faceted window walls, a double-height living room with balcony, and symmetrical chimneys. According to historians, Kahn used houses as a way to test his ideas for larger buildings; in this case there are similarities in outline and in the separation of “service vs. served” spaces with his Richards Medical Research Building of about the same time.

Another listing has special resonance for Houseplans –  it’s a mid-century modern Eichler tract house in Granada Hills, California by architect Claude

Oakland, shown here. It’s listed for $739,000 and has been carefully updated to meet current codes, not to mention appliance and fixture expectations.

I like Architectureforsale’s clever description of the wide gable design as a kind of airframe: “Like a B-2 Bomber’s absolute symmetry…seemingly as if lining up along a tarmac from one of the many Los Angeles area airports.” An apt description! (All above photographs courtesy Architectureforsale).  The significance for us here at Houseplans is that we carry copies of several original Claude Oakland plans in our historic Eichler Collection,

like this one, which is Plan 470-2, with its segmented gable organized around

a central gallery. Price? Only $4,500 — but you do have to build it.

Back to School at Home

Where do you work when you’re at home? In an alcove off the kitchen like this

one in our Plan 56-604. Or maybe at the dining table? Or perhaps in the

Oval Office? (Photo courtesy Whitehousemuseum.org) Wherever it is, you know home work spaces are evolving. They can be almost anywhere with a little help

from today’s shelving/storage systems, like this clever desk that converts to a

Murphy bed so you won’t miss an inspiration that strikes in the middle of the night — or where there’s not enough space for a desk. It’s called the “Harry” (sounds presidential!) by Smartbeds of Italy and is available from FlyingBeds. Sweet dreams.

 

Window Walls and Rooms-Within-Rooms

Every Solid Loves a Void — and Space is a Wrap

Let’s explore two strong architectural ideas — the window wall and the room-within-a-room — and how they can enhance house design. Both have long histories. In one sense the glass wall goes all the way back to the tall banks of windows at the Tudor estate known as Hardwick Hall in England, built by Bess

of Hardwick in the late 1500s, shown here (photo courtesy Anglotopia.net). At that time glass was an important emblem of power and wealth because it was so rare — thus it was a fitting material for the richest woman in England after Queen Elizabeth I. You didn’t mess with Bess. A more recent example is the glass

living room wall to the right of the tree courtyard, at the Pavilion de l’Esprit Nouveau designed by Le Corbusier and built as a demonstration house or “machine for living” for the Paris Exposition of 1925 (photo courtesy 4rts.wordpress.com). As we have seen in previous posts, the window wall became a signature feature of Modernism, especially in mid-twentieth century works like Mies Van Der Rohe’s Farnsworth house and Philip Johnson’s Glass

House. Our Plan 520-4, by Irish architect Frank McGahon, shown here with its flanking window walls, is a recent version. The great appeal of the window wall is to unite inside and outside while framing both. The trick is to beware of exposures — even insulated glass can transmit heat and cold.

The room-within-a-room idea is vividly illustrated by a piece of furniture, also from England of centuries ago: the Great Bed of Ware, ca. 1580, with its large

post and beam frame and heavy curtains closing it off for privacy and warmth (photo courtesy Wikipedia).

Thomas Jefferson’s bed alcove at Monticello, shown above, is a sort of built-in version, minus the curtains (photo courtesy Colonial Williamsburg). Architect Charles Moore was fascinated with this idea and referred to it as an aedicula, which is Latin for a small shrine. (The most famous example of an aedicula

is the baldacchino with twisting columns over the altar at St. Peter’s in Rome, by Bernini, photo courtesy Saintpetersbasilica.org.) Moore used a much simplified version of it in his own house at Orinda from the early 1960s, where the larger

living and smaller bathing spaces are defined by columns and skylights, like separate domestic temples clustered under one roof (image courtesy Eleanor Weinel’s Arch4443). Moore’s design partner, William Turnbull, used an even more spare — and more Jeffersonian — version in his Sea Ranch cottage of the early 1980s, which is our historical Plan 447-1, where the bed is an alcove

in the corner. A flexible contemporary take on this idea is “The Cube” designed by architect Toshi Kasa of Spaceflavor for Feng Shui expert Liu Ming in his live/work loft in Oakland, California (photo by Joe Fletcher via The New York

 Times). The 8 foot-square cube-on-wheels is a bedroom on one side and an office on the other, allowing Mr. Ming to use the rest of his loft for his classes. I trust the brakes are on in case there’s an earthquake.

An outdoor room within a garden is yet another way to go, as architect Ross

Anderson shows in our Plan 433-2, above. See the outdoor fireplace opposite the built-in bench forming a small living area at the edge of the courtyard in this partial view.

But where might the window wall and the room-in-a-room work together? How about Hojo House by Akira Yoneda of Architecton in Japan. The glass house is

behind an elegant scrim of steel tubes, creating a modified screen porch that distracts from the very tight infill site (thoughts of cages inevitably spring to mind; photo courtesy infoteli.com). But I think today’s most famous example of the two ideas working together might be the marvelous glass cube entrance to the Apple store

on Fifth Avenue in Manhattan, where the novelty of a structure that is there-and-not-there makes you see everything around it — like the Plaza Hotel across the street — more clearly. The simple contrast between solid and void is visually refreshing and builds a larger whole. Designed by Bohlin Cywinski Jackson, Apple’s magic container makes you realize it is a room within the much larger room that is the terrace on which it sits, the street, and the edge of Central Park itself. Some ideas just expand!

What Makes a Great Outdoor Room?

Fresh Air Fantasies

Spring fever is upon me so what makes a great outdoor room? In Baroque Italy it might have included finely clipped box hedges, stone benches, a bubbling fountain, the odd grotto, and perhaps a running stream for keeping wine bottles cool (those thirsty cardinals and popes!). In the late 1920s the famous modern architect Le Corbusier designed a roof garden for an eccentric client in Paris that was a surrealist living room: an ornate fireplace, a rug-like lawn, and the

Arc de Triomphe peeking over one wall like the fragment of a floating cornice (photo courtesy Studio International). More recently architects and designers have continued to push boundaries, literally, and they have shown how almost every room in the house can move outdoors. Here’s a quick round-up of indoor functions that migrate.

Living. Of course a patio sitting area becomes a secondary living room, as

landscape architect Bernard Trainor shows in this arrangement around a fire pit, where the gravel floor and perimeter plantings neatly define the space (photo courtesy Bernard Trainor). Crisp edges, smooth ground, two chairs and perhaps a shade umbrella are really all you need. A built-in bench protected from the sun

by a retractable canopy is another way to go as shown in this example by architect Buzz Yudell, of Moore Ruble Yudell Architects, and architectural colorist Tina Beebe, where the pillows seem to embody the weight and color of shade itself — lighter to darker green.

Cooking. Outdoor kitchens have grown in popularity and run the gamut from simple built-in barbecues with an adjacent counter to grand food preparation

zones with a full complement of appliances designed for outdoor use, not to mention pizza ovens and flat screen televisions. (The example above is from Plan 496-14, by Leon Meyer.) The arrival of versatile folding wall systems — pioneered by Nanawall from the US, with other companies like Centor from Australia adding to the mix — have made it possible to turn any kitchen with an outside wall into an outdoor kitchen. (This Nanawall example is courtesy

Shannon, Scarlett, Taylor Architects).

Dining. In good weather everyone wants to be outside, especially at mealtime,

and here’s an especially serene space for alfresco dining by Aidlin Darling Design. I hope that after this compelling image was made the owners added a little more seating — otherwise the fire seems to be entertaining itself (photo courtesy Aidlin Darling via Custom Home). Architect Hugh Newell Jacobsen is known for supremely elegant houses where outdoor rooms are proportioned

like interior ones, as this hip-roofed patio dining pavilion demonstrates (courtesy Architectural Digest).

Bathing. Where the climate is temperate and there’s enough privacy even bathrooms can move outside, as this dramatic example by the firm of

Backen Gillam Kroeger Architects demonstrates. When the walls slide away you can really soak in the sunset! (Photo courtesy BGK Architects.)

Sleeping. It’s a summertime pleasure to sleep in the open air. Certainly it can be done with a sleeping bag, but there are other ways to go. The Mexican modern architects Legoretta and Legoretta turned an entire bedroom

at a house in Hawaii into a breezeway. The corner disappears — no sleepwalking allowed (photo courtesy Architectural Digest). But simply installing a hammock

on the porch (visible in the distance, house design by and photo courtesy of Walker Warner Architects) might be enough. Or why not hang your bed from the

rafters for the ultimate relaxation room, and let your house rock you to sleep (photo courtesy Chomec.com).


“Mad Men” and Mid-Century Modernity at LACMA

Stereos and Studebakers

The start of Mad Men‘s fifth season this week on cable TV is fortuitous. Though the series spawned a new appreciation for slick Madison Avenue Modernism of the early 1960s — not to mention accompanying cocktails — it wasn’t easy to see

where part of that esthetic came from (photo courtesy shinyshiny.tv). But now you can, thanks to the exhibition running through June at the Los Angeles County Museum of Art called Living in a Modern Way: California Design 1930-1965 curated by Wendy Kaplan. In fact, the advertising firm that the character Don Draper runs, seen above at his desk with drink in hand, ought to be developing campaigns for many of the products in the exhibition, like the Studebaker Avanti of 1961-2 by Raymond Loewy, below.

California — and especially Los Angeles — became a remarkable incubator of modern design during the middle of the 20th century. The benign climate, burgeoning post World War II economy and population, and movie mystique attracted imaginative designers and take-a-chance clients. I toured the exhibit recently and was impressed with the way it explores connections between popular and high style design, from furniture and clothing to houses and cars while bringing the Left Coast side of the Mad Men era to life.

Time here begins in the 1930s, quite literally, with one of the first digital clocks,

the Zephyr clock by Lawson Time, from around 1938 (photo courtesy LACMA blog). My uncle had one of these and I always admired it — when the numbers turned over they bounced slightly before resting in place (perhaps a metaphor for hanging fire?). Time did appear to be hustling as new tracts developed across

the LA basin. Modern architects were designing houses and filling them with furniture like this 1931 bent plywood chair by Richard Neutra or this squared off

corner grouping by A. Quincy Jones from 1961 and Mondrian-esque glass coffee table of c. 1950 by Milo Baughman for Glenn of California  — which look like they belong in one corner of Don Draper’s office. Living In A Modern Way shows how California designers celebrated the casual indoor-outdoor living that

the California climate made possible, as in this promotional image for a development called Monarch Bay Homes at Laguna Niguel by delineator Carlos Dini, from 1961 (image courtesy LACMA).  My favorite part of the exhibit juxtaposes two elegant designs from 1961 by LA’s most minimalist architect,

Craig Ellwood: a superb elevation of his Rosen house and the Rosen’s custom stereo cabinet. Now this takes Machine Age abstraction to its logical extreme: house and stereo are extensions of each other, if not virtually indistinguishable –  do I live in the stereo or does the stereo live in me? Talk about surround sound! The only real difference, besides scale and some plumbing, is that the stereo has four bays while the house has only three. Clearly the sort of house where you would expect to hear Frank Sinatra, not to mention the architect, crooning My Way — and sotto voce “or the highway.” (Images courtesy LACMA.)

Even Barbie went modern, and her Dream House of 1962, shown below, is fun to

to see. The largest element in the show is a replica of the loft-like living room of  the Charles and Ray Eames house of 1949, the most famous structure in the

Case Study House Program of the late 1940s and early 1950s sponsored by Arts + Architecture magazine (photo courtesy NY Times). It functions both as a frame for nature and an elegant specimen box for the Eames’ collection (1,869 items in this space alone!). Which reminds me: Case Study House #3 shown below, by William Wurster and Theodore Bernardi is not in the exhibit but is in the

Houseplans.com Exclusive Studio and is Plan 470-9. See how it too blends indoor and outdoor space into a seamless whole: the house is the lot. Our Eichler Plans offer further variations on the modern living theme. They’re all part of the Mid-Century Modern design history you can own.

So, Don Draper — time to put down that highball and get back to work. You have a lot of selling to do!

 

Major Ranch House Exhibition at UCSB

From Corral to Cul de Sac in the Southern California Home

I just saw “Carefree California: Cliff May and the Romance of the Ranch House” in the Art, Design & Architecture Museum at the University of California, Santa Barbara, curated by Jocelyn Gibbs and Nicholas Olsberg. It’s the first scholarly  exhibition on the history of the suburban ranch house at UCSB since the late architectural historian David Gebhard founded the museum’s design archive in the 1970s and collected the Cliff May papers along with those of many other influential Southern California architects and designers (catalog to be published in April). The fence on the intro wall aptly expresses both the ranch house idea

and the intent of the show: to corral the many facets of ranch house history into a coherent narrative while showing off holdings from the museum’s extensive architectural drawings collections. It’s mostly about ranch house designer, developer, and popularizer Cliff May, who began his career in San Diego in the early 1930s with courtyard designs like this one, which cloaked functional planning and space for the automobile in the romance of history.

They were inspired by early California ranchos with their covered “corredors” or porches. In 1934 he moved to Los Angeles and soon began developing Riviera Ranch, an equestrian-oriented subdivision off Sunset Boulevard near Brentwood. With larger lots his plans could “sprawl” across the site.

This house — for his own family — became his best sales tool and a laboratory for trying out new ideas like residential incinerators and walk-in refrigerators. In the 1950s he and his architect partner Chris Choate developed their “low cost ranch house” concept using standardized, pre-cut elements.

(Image courtesy AD&A Museum.) Window walls and shallow gable roofs were signature features, as shown in the brochure plan and the supergraphic of another May design that dominates a section of the exhibit (below).

May’s designs resemble Eichler tract house plans of the same era — the ranch house concept was everywhere at that time and very malleable. The tract ranch house became popular for developers, which is when the word sprawl took on

a less positive meaning; this is an aerial view of Lakewood Rancho Estates, in Long Beach, California (image courtesy AD&A Museum). Meanwhile May was still designing larger and more lavish custom homes for people like the inventor of

the Lear jet and the composer of the theme song for the TV show Bonanza. The typical pool and patio example above — one of many in the exhibit — became synonymous with California living (image courtesy AD&A Museum).

By the early 1960s Cliff May ranch houses had spread across the country as this wonderful pin map — which I remember seeing in Cliff May’s last office — demonstrates. Some of the pins represent subdivisions of more than 25 houses — his designs are in almost every state as well as as Canada and Mexico.

The show includes ranch house designs by other Southern California architects, from John Byers to Rudolph Schindler, proving that Cliff’s wasn’t the only game in town. As Jocelyn Gibbs, who is the curator of the museum’s Architectural Drawings Collection, told me: the intent was “to suggest that the ranch house and modernist ideas are not incompatible.” Indeed, the ranch house idea was stylistically very loose — simply a one story house with a modern open plan and strong outdoor connections. It had little theoretical baggage.

The need to exhibit only work from the museum’s collections is understandable but I wish there had been a way to include the wider architectural context, from William Wurster’s Butler house at Santa Cruz, California of 1935

(image courtesy Modern in Melbourne), to John Yeon’s Watzek house in

Portland, Oregon, of 1937 (photo courtesy Inside Oregon), to Frank Lloyd

Wright’s Herbert Jacobs Usonian House in Madison, Wisconsin of 1936 (image courtesy GreatBuildings.com) to Walter Gropius’s Arnold Wolfers house in

Brooklin, Maine of 1947 (image courtesy The Downeast Dilletante). Most architects took the ranch house in a more strictly modern direction and didn’t acknowledge Cliff May’s contribution. Nor did most of the design critics of the day. But though Cliff May was left out of architectural debates at the Museum of Modern Art and elsewhere, it’s clear, as this exhibition vividly demonstrates, that Southern California had a richly experimental residential design tradition and that Cliff had the last laugh. The show remains on view through June 17, 2012; museum hours are Wednesday through Sunday, noon to 5; free.


Contemporary House Plans from Estonia

Talent — and Modern Living — from Tallinn

I am excited to introduce house plans by Andrus Elm and Oliver Kangro of Concept Home, a company from Estonia on the Gulf of Finland with wide engineering, architecture, and development experience across Southern Europe and Scandinavia. Concept Home is the newest member of our International Exclusive Studio, which also includes plans by architects from Australia, Brazil, India, Ireland , and Italy. I’m drawn to Concept Home’s open and adaptable layouts, wide range of plan types, and warm contemporary style. Plan 537-9, for

example, which has 1,487 sq. ft., would work well for a ski chalet or a country getaway, with its strong

indoor-outdoor connections (terraces on two sides) and upstairs balcony leading

to two bedrooms, which lets the upper level share views out the tall living room window wall. Plan 357-13, below, has 4 bedrooms, three baths in 2,300 sq. ft.

boasts a handsome extended hearth in the living area and a generous covered

dining terrace off the kitchen. With its shed roof, vertical board siding, and

window wall, Plan 537-17 recalls classic modern designs like the Sugar Bowl Ski

Lodge of 1939 designed by architect William Wurster (photo courtesy 2729

Hyperion.com) and a mid 1960s house like this one at Sea Ranch by Joseph Esherick (photo courtesy Sea Ranch Escape).The layout of Plan 537-17 is

carefully thought out with a multi-functional island — for cooking and dining –

separating the kitchen from the living area, a large storage closet near the kitchen, and terraces at front and rear on the ground floor and deck above. The aim of Concept Home is to design houses that are flexible, functional, full of

natural light (this is Plan 537-4), and inexpensive to build. They feel natural and warm. And, according to Concept Home: “Most of our houses can be adjusted to passive house principles in a great variety of geographical locations. We believe that a modern house must be energy-efficient.” Bravo.

So welcome home, Andrus and Oliver — or should I say it in Estonian: Tere tulemast kodu!!