Architect Robert Swinburne deploys a collaborative building approach and hyperlocal materials to craft a Passive House–certified home that celebrates the land it’s built on.
The architect and owners were in sync on every aspect of the design, including the desire for shou sugi ban siding. “I had been interested in shou sugi ban for a long time,” Herrmann says. “These Japanese cypress boards have been charred, wire-brushed, stained, and oiled. We did a lot of testing to come up with the right dark grey color; it changes in the light.”
The oversized, oak pivot door has a hefty feel. “It’s about the tactile qualities and the craft,” Herrmann says. Slate tile with a clef finish in a herringbone pattern connects the entryway to the outdoors. The abstract painting is by British Columbia-based artist Andrea Soos.
Herrmann’s first inclination was to design the bunks without a partition between them, but the owners asked that each one be its own little pod complete with bookshelves and reading light. “The kids love the bunk room,” the husband says. “At home, the twins share a room and their baby brother is the odd man out. Here, for twelve weeks, he gets to be a part of it.”
To arrive at the front door, one must travel on an informal path of bluestone pavers, then turn 90-degrees to enter. “Discovery and mystery is part of the charm.” Herrmann says. The seven-foot cantilevered covering has an underside of hemlock slats that extends indoors.
“You’re drawn deep into the house and given clues where to go,” Herrmann says. “Natural light guides you through the house.”
The hemlock slat ceiling runs throughout the first floor, save for the living room. The slats hide acoustical batting and tracks for lighting. It also adds warmth, texture, and interest, and provides a sense of continuity.
A music room was a must-have for the owners. “My wife plays piano an hour a day, and I like to play records,” the husband says. “The kids know this is mom and dad’s room.” The seating is by Blu Dot.
The living room, dining room, and kitchen are distinct spaces while still being very open. “It was fun to come up with a slightly different approach to an open living concept,” Herrmann says. The artwork on the left is by Sonnenzimmer. The abstract on the right is by Ludovic Philippon, a painter in the South of France.
By wedging the house into the hill, Herrmann was able to accommodate the owners’ desire to present a low-key face to the neighbors. Living room sliders open onto a concrete terrace that leads down to the backyard.
Board-formed concrete provides a pleasing but not overly decorative finish for the backside of the lower level. The living room volume and concrete terrace sit atop the garage.
The lower level, which has a polished concrete floor and comfy Blue Dot sectional, is where the kids run around, do craft projects, and watch television. A plain barn door separates this area from the guest suite. There are also sliders that spill out into the yard.
The shared second-floor bath has a black tile backsplash that references the home’s shou sugi ban siding. The oak and cold-rolled steel vanity echoes the design of the kitchen’s furniture-like island.
The couple switch from the first-floor suite to the upstairs suite when the grandparents visit. “Waking up to the sunrise there is magical,” the husband says. The abstract painting is by Andrea Soos.
Local cabinetmaker Peter Pomerantz made the custom, white oak cabinetry and Flywheel Industrial Arts fabricated the steel hood. “It’s about lines and shadows; no hardware,” Herrmann says.
The blackened “Branch Flower” chandelier is by Australian lighting company Giffin Design. “It looks slightly random, but it’s not,” says Herrmann, who likens the dining room to a glass box.
The stair is visible through the large picture window at the front of the house. The ceiling slats rest atop the huge steel beam that runs parallel to the staircase.
Flywheel Industrial Arts fabricated and installed the floating steel and oak stair based on Herrmann’s design which balances geometry with organic rhythms. If Herrmann noticed a repeated pattern when she glanced at it, she played with the spacing until her eye wasn’t drawn to any single spot. “We were excited by the combination of a massive, steel superstructure and a non-repeating baluster pattern,” says Benjamin Cheney, a partner at the Montpelier-based firm. Bocci pendant lights illuminate the stair evenly and look beautiful.
Herrmann and the building team from Red House collaborated on the hardscape and simple landscape gestures. “The owners didn’t want to worry about maintaining fussy gardens while they’re there,” Herrmann says. Flywheel Industrial Arts fabricated the powder-coated railings.
The living room occupies the middle volume and has a cathedral ceiling. “It’s the largest room in the house and has the best views,” the husband says. “It’s where we entertain and encourage the kids to be with family.” Sliders open to the concrete terrace where they gathers every night to watch the sunset. The landscape is by Australian-American photographer Brooke Holm.
Now the courtyards are wrapped in a modern glass veranda. The room at the end of the courtyard is the dining room. A folding door enables it to be opened completely to the courtyard. This section of the home is considered the social wing of the home, with a tea room, dining room, living room, and kitchen wrapping its perimeter.
New exterior
New Sunporch added.
It took Selin + Selin Architecture approximately nine months to build Kim Smith’s modest new home, which he originally envisioned sited on the property’s old granary.
West facing open to 20 acre fields
In the master bathroom, a matte Ove tub from Wetstyle is one of Maca’s favorite getaways. The angle of the custom window, designed with a minimal frame to maximize the view, mimics the roofline.