Category Archives: Plan Collections

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!

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.

 

Andrew Blum’s New Book Digs Up the Internet

The Cloud is Underground (and at the Bottom of the Ocean)

Here’s an important new book for anyone who surfs the Web: Tubes: A Journey to the Center of the Internet (Harper Collins, 2012) by

geographer/journalist Andrew Blum. It’s important because Andrew describes in fascinating detail the physical, earthbound structure of the Net, reminding us that though “the Cloud” may comprise the pulses of light produced by powerful lasers, the ganglion of fiber-optic cables carrying that light are crowded together in predominantly unmarked buildings, rooms, and vaults all around us, and in the ocean too. It is a “tangled web,” to be sure, with elements of secrecy, but Andrew deftly unravels the key developments, from the first non-academic hub known as MAE-East (Metropolitan Area Exchange) in Tysons Corner, Virginia near Washington, D. C. to Facebook’s huge new data center in Prineville, Oregon.

I had breakfast with Andrew recently and he told me that a high point of his journey was seeing the cables inside Fiber Vault 1 on the Equinix campus in Ashburn, Virginia. In the book he writes that this was among the biggest places “where Internet networks connect… the nexus of nexus. Hot and still. I could smell it: it smelled like dirt.” But then he realized there were many such vaults — that the Internet was there and everywhere.

He toured the London Internet Exchange where a refrigerator-sized machine with blinking lights carried 300 gigabits of data per second (300 billion!); followed a fiber-optic cable-laying crew under the streets of Manhattan; and visited places where undersea fiber-optic cables come ashore, as at Porthcurno on England’s Cornwall coast.

The book explains a complex world that is hidden in plain sight — a true parallel universe. Indeed, reading Andrew’s book is like dipping into a somewhat more technical Harry Potter sequel where you find yourself on a real Diagon Alley face to face with a Fiber Mux Magnum Machine (it changes signals for a router). Pressing “Enter” will never be the same.

An article adapted from Andrew’s book appears in the current Fortune, with the

addition of these fascinating maps charting the Internet highways across the globe. The one below shows average Internet speeds and an important hub like the exchange building at 60 Hudson Street in Manhattan (images by

Nicolas Rapp; Data Geotel Communications, National Telecommunications and Information Administration, courtesy Fortune magazine).

Francois Levy and BIM

Talk of data centers and server farms makes me think of architect Francois Levy‘s cool Barn Plan 450-2, which he describes  as “an efficient modern

agrarian home.” It’s suitable for a vacation or weekend house, or as a secondary structure. Barn doors on two sides of the kitchen-living area make it possible to

turn this space into an outdoor room in good weather. There’s a loft above the bedroom. The plan is part of the Exclusive Studio Collection. Francois Levy teaches at the University of Texas at Austin and his new book BIM in Small-Scale Sustainable Design (Wiley 2012) explains how to use digital models

for the design and documentation of houses and other buildings. BIM stands for building information modeling — with tools like ArchiCAD. Using case studies, he explains how these tools make it easier to produce sustainable architecture. These may be the machines that designed the vaults that hold the cables that hold the Internet — sounds like we’re playing that memory game about packing grandmother’s trunk.

Tour de France Architecture and the Classical Home

Pass the Salt — and the Classical Ideal

One of the great pleasures of watching the Tour de France (a current nightly addiction) is seeing modern cycling in a setting of great classical architecture. The most vivid backdrop so far was last week’s ninth-stage start at the famous

late 18th century salt works at Arc-et-Senans, Besançon (photo courtesy estrepublicain.fr). This remarkable complex of buildings (the one above was a theater) arose as part of an early utopian idea for a factory town, when salt was a precious commodity as an agent for food preservation and to improve taste, and a royal monopoly. Though these three riders are understandably oblivious to the robust Doric order behind them, they are chatting, ironically, beside an early example of what scholars call “architecture parlante” or “talking architecture,”

designed by Claude-Nicolas Ledoux, and completed in 1778.  The aerial view shows the semi-circular layout and the architect’s interest in geometric order (photo courtesy salineroyale.com). In his excellent book European Architecture 1750-1890, architectural historian Barry Bergdoll explains that architecture parlante was about expressing the identity and profession of the client “through the manipulation of architectural symbolism.” Here that meant using a rustic Doric order (because Doric signified a utilitarian function at that time) and an orderly — i.e. geometric — layout with “an arc of residential and service buildings facing the salt production sheds and the director’s house along the diameter.”

Among the most expressive, or loquacious aspects of the Salt Works are the ornamental sculptures of saline water just before crystallization, as shown in this image, courtesy Miami.edu — which could also represent the occasional cramping that cyclists experience…Hydrate! Hydrate! Classical architecture has always embodied large ideas and associations — order, knowledge, Greece and Rome — so it’s easy to see how an architect like Ledoux would take imagery to an

extreme, as in his design for the keeper of a river dam’s power source as a giant sluice gate (never built; image courtesy Arch 672: Smart Surfaces Studio). It could be a progenitor of Frank Lloyd Wright’s Fallingwater at Bear Run, Pennsylvania for Edgar Kaufmann — only River Keeper Kaufmann actually ran a department store.

As it happens, Thomas Jefferson arrived in France in 1784, not long after the salt works and other buildings by Ledoux had been completed, and soaked up the classical vibe (if not the salt) from daily walks in Paris, as an insightful and

beautifully printed new book by historian Diana Ketcham and photographer Michael Kenna — Thomas Jefferson’s Paris Walks (Arion Press, 2012) — demonstrates. According to Ketcham, Jefferson was most attracted to

Neoclassical buildings like the new palace for the Prince de Salm, from 1787, with its monumental portico and long rows of columns along a court of honor (photo courtesy Arion Press). Upon his return from Paris in 1796, Jefferson

redesigned Monticello, no doubt prompted by what he saw in France. Monticello’s high blocky entablature and balustrade wrapping the brick wall above the windows like a tightly cinched cummerbund may have derived from the grand double entablature at de Salm. You can see echoes of the colonnade arrangement in his much later plan for The Lawn (central quad) at the University of Virginia.

The classical portico idea remains popular to this day. A recent, much

simplified version, is  Plan 492-8, by architect-sculptor Michael Curtis (part of our Exclusive Studio Collection), with its pedimented front porch. Inside of course, the layout is very contemporary, with the kitchen-dining room

and master suite opening to a spacious deck. Such a design would suit a site in neighborhoods where the language of classical architecture is still spoken. And in New Urbanist communities like Seaside, Florida or Stapleton, Colorado, which are classically inspired and where garages are usually on rear alleys, the main streets would be safer for cyclists!

New Katrina Cottages and Bungalows

Shotguns and Survival

Hurricane Katrina blew away or seriously damaged a lot of Gulf Coast architectural history — like the classic mid 19nth century “shotgun house”

at Bay St. Louis shown here (courtesy Mississippi Heritage Trust) and so-called because you could shoot a bullet front to back without hitting an interior wall, but Mississippi architect Bruce Tolar has fought back, helping communities overcome the devastation and even renew their roots. Like Marianne Cusato and others he developed a variety of innovative, easy-to-construct, small houses — including Katrina Cottages  — that add character, even a sense of history, to a neighborhood. Now these plans are part of our Exclusive Studio.

His two bedroom, one bath, 672 sq. ft. Plan 536-4 deftly brings the shotgun idea into the 21st century by including hurricane-resistant construction

and a contemporary layout. (You can still enjoy some target practice down the hall though you’ll need to be okay with blasting through the bedroom closet.) The house is tiny but lives large thanks to the generous front porch and the combined kitchen/living space. The three bedroom, three bath, 1,413 sq. ft.

Plan 536-1 takes a more expansive approach while keeping the neighborly

 front. The cross-axial dormers brighten the upstairs bunk room and bath.

Plan 536-3 is a simplified version of Plan 536-1, with no upper floor and

   a shortened front porch. I can see this plan built as a vacation cabin

or a starter home. But these houses are really designed to shape a

 community, as Bruce shows in his walkable Cottage Square development at

Ocean Springs, Mississippi, pictured in the two photos above, where his designs complement those by Marianne Cusato and others in a pleasing example of countryside urbanity.

Plan 536-5 takes a different tack and draws inspiration from Caribbean

architecture with stucco or plaster walls and high balconies as well as 

wrap-around porches to maximize cross ventilation in a hot climate.

With their connections to a larger historical context  these plans are all about creating — or in some cases re-creating — a strong sense of place. These houses remind me of Mark Twain’s famous line that history might not repeat it self, but it rhymes. Welcome Bruce!