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Western Home Awards; 1987-1988.

Western Home Awards 1987-1988

Put seven experts in a room with 287 entry binders and ask them to select the very best in Western residential architecture. That was the charge given last June to the Western Home Awards jury, pictured below. The results of their deliberations are shown on the following 18 pages.

What does an architectural jury look for? It's hard to pin down. A building must speak to a juror in some positive way. It must be exciting, or beautiful, or intriguing; it must evoke some emotion, memory, or other response. Great buildings probably do all these things.

But a good house must also succeed in other ways. It should be in harmony with its site and in context with its neighbors. And it should do the job it sets out to do--suit the intended occupants, provide a comfortable living environment, and make a physical statement on the landscape.

As you study houses that have been given honor awards, awards of merit, or citations, you'll see that no one style or design approach has a franchise on architectural merit. The 1987-88 winners are an eclectic assortment from seven Western states, reflecting this jury's broad spectrum of appreciation.

Though esthetics were of primary importance, this jury was also very concerned with whether the building was energy responsible, structurally sound, and climatically appropriate.

Judging buildings on the basis of plans, photographs, and written explanation entails subjective responses. In all likelihood, different jurors would have given awards to some entries not shown here, and some winners this jury chose might have been eliminated. You will no doubt have your own favorites-- and reject others. But we hope you find the selection thought provoking; we've included some of the jurors' comments to help you understand how they felt about what they saw.


"Highly crafted . . . and highly technical'

Architects dream of assignments like this: design a highly crafted, highly technical house on a beautiful site for imaginative, supportive clients with a generous budget. Seattle architect Arne Bystrom and his staff spent more than three years on this 8,000-square-foot house in Sun Valley, Idaho. It was a labor of love, as the result shows. Every detail was considered, producing more than 150 sheets of plans.

Dozens of dedicated Idaho craftspeople produced tile, metalwork, cast concrete, and custom woodwork with the dedication of the crafts guilds of the past. As you move through the five-bedroom, five-bath house (and a 600-square-foot apartment), beautifully worked materials create a rich tapestry of textures and colors.

But the house also incorporates elaborate, state-of-the-art energy systems. Payback for this investment will not come until some time well into the next century, but the owner wanted to see how far today's technology could go toward realizing an energy self-sufficient house in the Sun Valley climate.

The south-facing glass serves as a passive collector. Panels of evacuated glass tubing hang across the facade, collecting solar heat for water- and space-heating systems. For cooling, other systems use water from a reflection pond and air from underground tubes. The house also has backup furnaces and generators and shade-control and fire-safety devices--all monitored by a computer that can be remote-controlled by telephone.

Solar design: ENSAR Group. Snowcountry roof design: Ian Mackinlay.


"A little whimsy, but a serious solution'

What you don't see in our photographs of this cottage shaped what you do see: neighboring houses within 20 feet of each side. The site is woodsy, but it's less private than it looks.

To create 750 square feet of living space with as much privacy as possible on this tight lot on Bainbridge Island, Washington, architect James Cutler of Winslow devised a linear plan. The 18-foot-wide gable-roofed house and garage fit within two 100-foot-long side walls. Between house and garage is a garden court, where side-wall cutouts yield light and views.

The house's own side walls have small, high windows positioned to admit light but maintain privacy. These lengthen, forming vertical slots of glass, toward the house's rear, where a sweeping expanse of windows takes in a view of Puget Sound.

A large loft in the gable gives sleeping space. For guests, there's a pull-out bed in the living room; it fits partly beneath the kitchen sink, three steps above. The house was designed for Norma Strickland.


"An intellectual exercise with a kitchen'


"Bunkhouse imagery just right for the site'

Jurors applauded the evocative "bunkhouse imagery' of these compact 950- to 1,050-square-foot houses at Sea Ranch, California, appropriate to the site's history as a working sheep ranch.

Simple, vertical-board walls, gable roofs, and porch overhangs relate the buildings to a familiar farmhouse vernacular.

Five different house styles make up the 40-unit complex, which serves Oceanic California Inc. employees. The structures were carefully placed between existing pines and firs. Architects: William Turnbull Associates, San Francisco.

No need for privacy here: this starkly dramatic, transparent structure sits on a high bank, looking out over the Columbia River. Its skeleton is 6-by-6 welded steel tubing. Walls, floor, and roof are lightweight precast concrete panels, each measuring 11 1/2 feet square. The rest is glass--and view.

Oddly enough, the house is as livable as it is audacious. Portland architect David Rockwood designed it for his retired parents Vera and Lawrence. With strong interests in art and the time to pursue them, the house accommodates their creative energies.

Entry level centers around a handsome, formal living room with a 22-foot-high ceiling capped with a glass-block skylight. Beyond this tall room are twin workspaces--one a weaving studio, the other an office. Also on this level are a guest room and a bath that shares plumbing with a darkroom.

From the living room, the staircase leads up to a spacious kitchen, a dining area, an informal sitting room, and a large master suite. These rooms wrap around the two-story living room, sharing its skylight.

Access to the outdoors comes on three levels. A ground-floor patio is capped by a second-story deck. For full sun, the roof has a large, unsheltered deck.


"A yardstick for all restorations'

Between 1890 and 1910, two- and three-bedroom colonial revival and Queen Anne houses were built for employees at the powder works in Hercules, California. In an ambitious restoration, this old housing stock was recycled for new residents.

Responding to community interest in salvaging these historic structures, Aegis Financial Corporation of Larkspur and the Architectural Resources Group of San Francisco restored 20 houses after moving 13 of them to their present site.


"Great lesson for a tight lot'

Constraints don't have to mean constriction. In San Francisco, tight lots, steep hills, and dense development have often stimulated architectural creativity. The winning designs on these two pages continue the tradition of innovation, offering lessons for any crowded site.

Architect Daniel Solomon designed this three-story house on a 31- by 90-foot lot to fit into a closely packed row without duplicating any particular rowhouse features. The distinctive two-story arched window on the facade uses clear glass and translucent glass block to provide a combination of daylight, edited views, and privacy.

Inside, Solomon avoided a boxy feeling by treating the top two floors as a single light well: on the third floor, a "hallway' between the two front bedrooms and the master suite at the back is actually a bridge over the second-floor living-dining area. Skylights bring light down past bedrooms and bridge to the living room. Another two-story space just inside the arched window gives the living room more light and views.


"Everything says San Francisco'

The challenges were daunting: Design two townhouses for a steep, small, 35- by 78-foot lot in the symbolic heart of San Francisco, on the most famous block of "the crookedest street in the world.' Capture a sweeping east-facing vista without violating 45 deed restrictions protecting neighbors' views. Maintain visual privacy. And--last but not least--preserve two specimen trees.

Architects Bobbie Sue Hood and Kirk Miller responded attentively. They placed one two-story unit behind the other, using a prized pine tree as a privacy screen. They extended the garden atmosphere of the hydrangea-lined street by designing an entry that opens to its own ferny, trellis-covered walkway and an outdoor stair leading up to both units. They oriented window bays and slender decks toward the views. Small square panes fill most windows; larger glass doors face best views.

Parking, a problem for many residents on this famous stretch of Lombard Street, is handled by a pair of covered carports and a deep under-house garage.


"Look at the geometry and how decks are stacked'

The early modern houses designed by such famous European architects as Le Corbusier and Mies van der Rohe provided inspiration for this citation-winning row house at the end of a hillside street in the southern fringe of San Francisco. (Two similar adjoining houses on the downhill side were designed separately.)

The geometric clarity evident in such work helped architect William Stout in his approach to this project, which called for creating outdoor space and capturing views which maintaining privacy for owner Alfred Coles.

Stout designed the two-bedroom house to function as a sort of staircase up the slope. Stacked at different levels above a large garage (much appreciated in the city), each major living space opens onto an outdoor area fitted within the overall ground plan.

Off the bedroom on the first level is a sheltered street-facing outdoor room; the kitchen and dining room share another deck, a small rear-facing garden sits at midlevel, and a larger outdoor area--a roof deck--is off the master suite at the top. A spa that sits flush in this deck commands a 180| panorama. Window design reflects the degree of privacy necessary. Translucent glass block, for example, was chosen for a low, no-view kitchen window. Clear glazing is reserved for rooms with desirable views. Low cutouts in the 3-foot-high walls around the roof deck permit views from spa-soaking level.


"You almost feel you're living in a sculpture'

From its materials--sandblasted concrete block, copper, heavy timbers, and shadecloth --to its south-focusing orientation to its deep overhangs, this is a house designed for a desert climate.

Windows in the single south-facing gable (shown at far left) are set deeply into copper-clad eaves and baffle panels, beneath an overhang calculated to block summer sun. Reflections off the copper warm the interior light. Outside, below the windows, a 10-foot-deep shadecloth-covered wooden framework stretches across the house's south wall, forming a protective canopy for the entry and for a glass wall opening onto the pool court.

The house and court walls use the same building material. Two colors of concrete block, stacked in strips, were sandblasted to give them a granite-like appearance.

The floor space narrows at each end as the roof line drops. At one end is a garage; in the center are tall, open living spaces; down a long hall are bedrooms. Since the plan tapers, each bedroom is smaller and more intimate than the one before it.

Designed by architect William P. Bruder for Jane and Casey Pulis and their small children, this Scottsdale, Arizona, house has two distinct outdoor zones. Except for a small court off the dining room and a large court off the living room, everything outdoors was left natural desert. The courts are lush, cultivated oases, the larger one incorporating a pool, spa, rose garden, and small lawn.


"A handsome form that hugs the rocky site'

Settled into a rocky bluff above Puget Sound, this gracefully sculpted 3,500-square-foot house was designed by architects Gary Sortun and Charlie Vos for Nancy and Dick Erickson of Federal Way, Washington.

Oriented to the view, the floor plan is a long, narrow rectangle. On the house's entry level, a family room, kitchen, and living-dining room all open to each other and look out to a view of mountains and the Sound. Upstairs, a master bedroom, two children's rooms, and baths are laid out around a shaft of daylight created by the faceted glass of the entry atrium, the staircase, and a third-level sun deck. A long, narrow second-story lounge faces the Sound; this is where the family relaxes together.

The open deck space below the central roof cutout gets plenty of use, even when weather is cool: family members are likely to spend a night here, sleeping under the stars. Decks cut into the long roof line also give outdoor access from the living room and master bedroom.

On the level below the entry, opening to the lot's downslope side, are a guest bedroom with bath; a room housing the heat, plumbing, and electric systems; and a shop, garage, and carport.

At the rear and off the family room, a glassed-in terrace (much like the entry atrium) extends living space into the landscape and can collect some heat in winter for adjacent rooms. Dark-stained cedar shingles and the simple shape of the house make it blend quietly in accord with the scenery around it.


"They put sex appeal into a merchant-built house'

Neighborhood history and Northwest weather both played major roles in the design of this house by Seattle architect Roger Williams. Built on speculation by Benchmark Construction, it was purchased by Paulette and Bill Sikora, who appreciated the way its exterior harks back to the days when this lakeside neighborhood was dotted with snug farmhouses --and who enjoyed the bright, contemporary quality of the interior spaces.

Clapboard walls, smallish windows, a steeply pitched metal roof, and simple lines all link the house to a turn-of-the-century look while being energy efficient and keeping maintenance low. A detached garage connected to the house by a covered walkway adds to the farmhouse look; the pocket between structures, a paved patio, provides protected outdoor living space off the family room.

A two-story panel, standing out from the front of the house and attached at the roof, shelters the entry. Large cutouts for the front door and an upstairs window let in light. Low fences--sided to match the house and strategically placed on the lot--screen windows and the garden, and give the house an illusion of greater distance from the street.

Inside, windows around a lofty, skylit central hallway let daylight stream into rooms on both floors. Downstairs, the kitchen and family room are separated from a formal entertaining and dining area by the central hallway. Upstairs, two bridges cross the hall to connect bedrooms, baths, a laundry, a study, and even an outdoor deck.


"Climbs hill, bridges arroyo. It's joyous'

A seasonal stream runs down the center of this tight hillside site. Grading difficulties resulted in a two-part house consisting of two pavilions set at different heights and angles on each side of the stream. The relation between these two house parts-- and the laminated beam-supported "bridge' that links them--gives great character to this uniquely Southern Californian residence.

As architect-owner Barton Phelps says, "The site and the building department designed the house.'

It's a study in procession. You enter from a carport-foyer at the north end of the lower pavilion and go up an oversize stair hall; the three levels of the main house step up one side of this daylit gallery.

Immediately off the first landing are the dining room and kitchen and access to a spacious trapezoidal terrace. A gentle rise above is the master suite. Continue up more steeply to the living room and a small walled garden.

A two-room suite, served by a separate stair off the front landing, sits atop the lower pavilion. A walkway from the living room leads across the roof of the stair gallery to this wing.

Different materials and colors in each room reinforce the sense of progression. The dining room has a heavily coffered, dark green ceiling; the master bedroom's is a natural redwood barrel vault. In the formal living room, the high ceiling is bowed gypsum board painted a soft yellow and accented by a central skylight.


"An appropriate marriage of house and barn . . . it should last'

Is it appropriate to join a barn and a house? The jury considered it very appropriate --when the house is in Washington's rural Skagit Valley, and heavy rainfall makes outdoor activity impractical much of the year.

If the corrugated fiberglass roof looks familiar, it's because two years ago architect Mark Pederson's partner won a Western Home Award for a new house with a similar concept. In both cases, the terrain dictated building living space on the second story: both houses are next to a levee in a flood plain; they're elevated for safety and to take advantage of river views over the levee.

The 95-year-old house's interior has been updated and opened with a few extra view windows, but the biggest improvements take place beyond the house walls.

In front, a new entry deck and stairs lead to an upper-level viewing porch.

At one side, a large barn-like structure ties to the house, its translucent roof highlighting the exposed framing and providing plenty of natural light for Clematis armandii vines that climb along the trusses. This bright, protected space is a good place for children to play and for farm and garden chores to get done, even in wettest weather. Woodworking tools store in a locker and can be rolled out when needed. The barn has two roll-open doors; a car can drive right through.

The barn's tapering form, which seems arbitrary at first, actually aligns the 45-foot-long structure with the setbacks of the nearby levee.


"They didn't get cute'

Foot-thick walls, clay roof tiles, and a squat profile rooted this one-story Spanish-style house firmly in 1920s La Jolla. But new owners Betsy and Frank Grasso asked San Diego architect Marc Tarasuck to enlarge and update the two-bedroom house.

Throughout, Tarasuck strove for historical compatibility, retaining the house's stucco-walled, tile-roofed heritage even while adding upward.

The desire for ocean views dictated a streetside location for a second-story master bedroom, bathroom, and office. Access is from a stairwell tower that--with its tiled roof, recessed corner detailing, thick walls, and recessed windows--resembles a Mediterranean carillon tower.

Inside the tower, vertically graduated corner reliefs draw the eye upward to a stairwell-spanning 4-by-12 beam (with track lights), a support system of 4-by-10s, and 1-by-6 tongue-and-groove cedar paneling--all washed with a thinned white paint, then varnished. The stair tower hides the bedroom's ocean-view deck from the street.

The rear of the L-shaped house wraps two sides of a walled garden, to which a series of cramped rooms originally turned their backs. Tarasuck knocked out interior walls between rooms to create a 15- by 25-foot kitchen with an informal fireside dining area and adjoining family room. A wall of new French doors opens these spaces to the garden.

To bring more light into the low-ceilinged old house and smooth the transition from the low roof line to the new second story, Tarasuck raised the central portion of the dining room ceiling, constructing a peaked clerestory. It adds 3 1/2 feet of height around the perimeter, increasing to 5 feet at the ridge; 12-inch squares of inset glass block punctuate the walls of the clerestory. He repeated this peaked clerestory element in the new upstairs bedroom.


"Every desert oasis needs a good pyramid'

For several nights, architect Antoine Predock camped on this desert site near Pinnacle Peaks, Arizona. Before setting pencil to paper, he wanted to get to know the rhythms of the Sonoran Desert and plot the path of the sun; his direct experience of the desert led to this romantic composition for Donna and Gene Fuller.

The 5,200-square-foot house is laid out as an east-to-west progression that plays with the geography of its setting. Entering at the east end, you proceed down a long "canyon' gallery that terminates at a window overlooking an "oasis' courtyard and pool. A narrow "river' of water in a channel along the volcanic stone floor flows from a fountain near the entry down the length of the passageway, under the window, and out to the pool.

South of the gallery, rooms bump out into the desert landscape like abstract boulders. First comes the breakfast room, then the kitchen and dining room, and finally a pyramid-shaped den that echoes the contour of a nearby mountain. The house bends around the central courtyard, leading the visitor through a media room and on up to the living room. This room is focused on a fireplace, with roof beams radiating out from its chimney. From here, a glass corridor finally leads to the master suite and guest bedroom at the house's west end.

The site is high enough to enjoy views not only of the mountains but also of the distant lights of Phoenix. A sitting area in a tower over the breakfast room is for catching the sunrise. A second tower, above the master bedroom, is for sunsetwatching. The pyramid's cut-stone stairstep sides also make good vantage points.

As the drawing below shows, the house has a second water feature, a tumbling cascade that makes its way through a group of boulders that enter the courtyard and spill into the pool. The architect has playfully labeled this feature "invasion of the boulders.'


"A generous lanai with an attached bedroom'

Basically just a generous lanai with an attached bedroom, architect Franklin Gray's house responds to Hawaii's warm air, tropical breezes, and lush landscape. Flanking the long sides of the 16- by 29-foot main room are sets of 10-foot-wide sliding glass and screen doors that store at one end of the wall to open the indoor space to the outside.

Sound control and low-cost, modular design are noteworthy. To block noise from a busy highway, Gray placed layers of tall masonry walls--a fence, then a garage, then the windowless end of the house-- toward the street. To simplify construction and permit great openness, the house uses a post-and-beam system on a slab, with pairs of 3-by-14 beams spanning the living area and extending over 4- and 5 1/2-foot-wide porches at each side.


"It has a refreshing calmness'

Should an artist's studio be a strong architectural statement, or a more neutral place that permits artistic expression within it? The jury concluded that this pseudo-Japanese building in Port Townsend, Washington, succeeds as a space conducive to producing art.

The simple, 1,200-square-foot building is divided almost in half, with the studio at the rear and the kitchen, bath, and living space in front. Shoji screens divide the two spaces and also provide curtaining for windows. Upstairs, a sleeping loft tucks under the front part of the gabled roof.

Posts on piers support an engawa-like entry deck; the house itself rests on a perimeter foundation--appearing to sit lightly on its informally planted garden site. Architects: Michael Canatsey Associates for Karo and Milner Thom.


"The materials are common, but the orchestration is beautiful'

By carefully combining ordinary building materials, this house proves that a whole can be handsomer than the sum of its parts. Except for three large-scale glass-block walls, these materials are also relatively inexpensive.

The house sits on a painted concrete slab with a scored grid that continues outside. Exterior walls are clad with hardboard siding, rarely specified for custom houses. Built in Boulder, Colorado, by architect James Leese for himself and his wife, Joslyn Green, this two-pavilion complex on an in-fill lot with mature trees consists of a main structure and a separate in-law suite joined to the living quarters by an enclosed second-story bridge across the entry walk. Both units are straightforward rectangular boxes, articulated only by doors, windows, awnings, and pipe trusses that become trellises when taken outdoors.

The ground level of the main house contains a kitchen, dining area, and two-story living room divided only by a fireplace and half-walls. Upstairs are a master bedroom and bath, and a study overlooking the living room. Two more bedrooms and a bath sit over the smaller in-law building. On both levels of both buildings, zigzagging pipe trusses support ceilings. The trusses might have given a machine-like look, but--painted white like the rest of the house materials--they create a quiet, pleasant play of pattern.


Our cover house: "It stretches out for views'

A small saddle in a bluff gave this site water views in two directions (on our cover, a telephoto lens photographed the house from the beach). To take advantage of both views, the house must stretch 100 feet between its sound and bay exposures. Using stock 16-foot-wide roof trusses, Seattle architects Miller/Hull developed a strong linear form that makes a dramatic statement--but keeps the bulk down.

The house, designed for Jeanne and Harry Metzger, is actually two separate living areas divided in the middle by a glass-covered entry court and joined by an overhead bridge. At one end is the main house. Above and behind the garage are a crafts room and an apartment for visiting children and their families.

To broaden the main living area without interrupting the long gabled form, sections of the first story were pushed out, accommodating a kitchen and dining room on one side of the house and a study on the other. Outside, these push-outs are partially bermed and planted, so they almost disappear into the landscape.

The house has a somewhat nautical flavor, appropriate to its water-surrounded site. Portholes punctuate entry doors, for example, and the outside walls are of bleached cedar trimmed in blue. Steel pipe rails and round posts reminiscent of pier pilings contribute to the theme. As a practical gesture in the salty environment (and because the owner's brother-in-law is in the business), the roof, gutters, downpipes, and all outdoor hardware are noncorrodible stainless steel.

Over the master bathroom, above the entry court, and at the ends of the house, the roof is opened to the sky with tempered glass. Where exposed under the glass, the house's standard 2-by-4 trusses were sandwiched in 2-by-6s to dress them up.

These additional winners will be shown in future issues

With a total of 24 awards and citations given this year, space to describe each house becomes a problem. To give the five remaining houses more room, they will be featured in later issues of Sunset.

Next month, we'll include the Foothill Design Group house in a report on solar houses from the California foothills. The Gallo remodel will be featured in a story on rooms where people really live, and the three award-winning vacation houses-- including our third honor award winner-- will be presented together. Look for these two features in early 1988. In addition, details from many of the winners will be shown in future issues of Sunsent.

Photo: The jury: from left, Rick Morrall, Sunset Magazine; Ron Goldman, architect, Malibu; Ned Sawyer, architect, Phoenix; Gordon Walker, architect, Seattle; Glenn Murcutt, architect, Australia; Pamela Burton, landscape architect, Santa Monica; Rodney Friedman, architect, San Francisco

Photo: Support brackets pierce wall of metal-framed windows overlooking Mount Baldy. Overhead blinds are controlled automatically

Photo: High-tech solar panels hang on tubular space frames suspended from the eaves of the sheltering roof

Photo: The guts of the elaborate house systems are in color-coded control room pictured above; computer tracks any problems. Despite technical sophistication of this house, craftsman's hand is much in evidence--as in refined woodwork of its informal, open kitchen, left

Photo: Undulating patterns on side walls partially shield deck across back end of house (left). From central courtyard, cutouts in wall give leafy views

Photo: Elegant simplicity in a rigorously geometrical pattern gives this Portland house a Bauhaus look. Open stairway up side of lofty central living room is a bold, sculptural link between levels. Artificial light, right, makes the formal geometry glow from within

Photo: Broad porches, peaked roofs, double-hung windows give the look of ranch outbuildings

Photo: Built between long, parallel walls, house gains privacy from close neighbors. Darker tone indicates sleeping loft. Note how end walls are cocked under rectangular roof line

Photo: A new, street-oriented neighborhood grew out of old houses carefully recycled

Photo: Symmetrical composite window adds distinctive new presence to an eclectic row

Photo: Overhead bridge lets part of living-dining room soar for space and light

Photo: Gridded bay windows fit snugly and appropriately into house's surroundings

Photo: Fern-filled trellised pathway creates this private garden entry

Photo: Horizontal bands of window articulate levels in hillside house at city's edge

Photo: Broad gable roof forms a deep brow to protect against desert sun. Inside, natural materials are in harmonious earth tones

Photo: A play of triangles, this house rises from a rocky shoreline site. Roof-peak cutout favors fair-weather hammock lounging

Photo: Almost primly conservative outside but open and contemporary inside, house is light-generous without being energy-wasteful

Photo: South-facing terrace is paved with black and green slate tiles. Its trapezoidal pattern reflects how upper and lower pavilions are skewed to each other

Photo: Lower levels

Lower pavilion houses carport, kitchen, dining room. Stairs and terrace bridge arroyo. Master suite is in upper pavilion

Photo: Upper levels

Bedroom, studio, and bath occupy top level of lower pavilion. Living room sits over master suite in upper pavilion

Photo: From up the canyon, two two-story structures are evident. They're standing over the interior stairwell that bridges the arroyo. The small windows in curved wall follow the glossy green stairs pictured at left up the slope. Along the way, pedestals create a gallery for folk art. Large view windows are a reward for reaching the living room

Photo: Tile-rimmed picture window indicates existing single-story living room. New stair tower at right gives access to new master suite behind; tower also anchors new and old forms. Inside tower, carefully proportioned structural timbers lend sense of strength and permanence

Photo: Additions are clad in weathered cedar. House is still painted a respectable white

Photo: Second-story porch with colorful container plantings gives relaxed view, over levee, of the Skagit River

Photo: Original house gable was framed under new translucent fiberglass roof. Multipurpose covered space serves as play yard, workshop, outdoor entertaining area, and woodshed

Photo: Canyon-like gallery steps down into main house from entry at rear left, following narrow stream of water down center

Photo: House plan follows east-west transit of sun. Color tone traces paths of water

Photo: Radiating beams in living room lead the eye to arc of wall where segmented window seats offer place to view pool courtyard

Photo: Inside pyramid, indirect lighting highlights thick, sloping walls of room that serves as den and office

Photo: Stairstepped pyraimd and squarish sunset tower rise from the desert, balancing each other across the courtyard

Photo: Walls or no walls? Sliding glass panels stack and store at one end of poolside lanai

Photo: East meets Northwest in Japanese-inspired studio-residence on the Olympic Peninsula

Photo: South wall shows many of the house's off-the-shelf components: wood windows, pipe trusses, awnings, hardboard siding

Photo: Pipe trusses create a lacy pattern of support overhead; their 2-foot depth boosts second-story ceiling up to 20-foot height. Above, study loft curves over living room; green tile box housing woodstove and television divides living and dining areas. West-facing wall of glass block floods living areas with bright, even daylight (below)

Photo: Southwest balcony and patio (above) overlook Puget Sound; long, narrow house then stretches back toward Tulalip Bay view at opposite end. Entry (right) is in center of two-part house, with bridge above door. Inside (below), support poles and beams define 16-foot width of main house; kitchen and dining areas spread to left, study bay to right

Photo: Plan shows 16- by 100-foot-long building with wider section on first floor. Bridge links guest quarters to main house


Miller/Hull Partnership; Gorton-Bounds cabin, Decatur Island, Washington


Jeffrey T. Prentiss with Phil Hamilton; Prentiss cabin, Friday Harbor, Washington


Obie G. Bowman/Architect; Brugler vacation home, Sea Ranch, California


Cody Associates; Gallo remodel, Menlo Park, California


Foothill Design Group; Pomeroy residence, Oregon House, California
COPYRIGHT 1987 Sunset Publishing Corp.
No portion of this article can be reproduced without the express written permission from the copyright holder.
Copyright 1987 Gale, Cengage Learning. All rights reserved.

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Date:Oct 1, 1987
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