A Paul Rudolph-Designed Midcentury Is Rescued From Obscurity and Finally Completed
Previously kept a secret at the request of the original homeowners, the Fullham Residence in Newton, Pennsylvania, finally gets completed according to the iconic architect's original plans.
At the request of the original clients, Judge John and Alice Fullam, who resided in the home from 1958 to 2006, architect Paul Rudolph never publicized this design during his lifetime. In fact, it wasn't until 2006 that awareness of the great design dawned, as the new owners became concerned over the fate of the residence. From 2007 to 2014, work was done to bring the residence up to code. The biggest turning point occurred in 2014, when Eric Wolff purchased the home and found out that the original 1957 drawings by Rudolph himself still existed. With the help of architect John Wolstenholme, Wolff researched the original drawings, and upon discovering Rudolph's intent to add a third bay, decided to construct the approximately 1,000-square-foot addition to complete Rudolph's original design composition.
The roof, which appears to float above the heavy stone walls, tilts slightly upward along the southwestern facade, creating the ideal design for passive solar heating.
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The residence represents a turning point for Rudolph: a turn from his earlier planar designs to the geometric, sculptural designs which propelled him to stardom as an architect. The Fullam Residence is created around the idea of massings, geometric forms extending beyond the building envelope. A strong juxtaposition of heavy and light appears between the thick, Pennsylvania-fieldstone walls, and the roof which appears to float above. Negative spaces between the stone massings are infilled with glass, creating light-filled interiors. The unusual roof configuration allows the winter sun to fall deep into the space, passively heating the stones, while providing shade from the warm summer sun.
A balance of solidity and void, weight and transparency, and elegance and masculinity define the residence's exterior. Masonry walls define the shape, while glass infills the negative space between.
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Full-height glazing allows daylight to fall deep into the home, extending into the mezzanine. A stone fireplace anchors the living space while extending upward.
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Shop the Look
Knoll Barcelona Chair
When Ludwig Mies van der Rohe was chosen to create the furnishings for the German Pavilion at the 1929 International Exhibition in Barcelona, he designed an iconic chair that many may not realize was born with royal roots. He built the Barcelona Chair to serve as seating for the king and queen of Spain, while he also designed a stool for the attendees to rest on. He formed an angular, tufted cushion that comes from a single cowhide—either Spinneybeck® or Edelman Leather. The support is made of cowhide belting straps that are dyed to match the color of the chair. In order to create such precise tufting, 40 leather panels are cut individually and are both hand-welted and hand-tufted with leather buttons. In 1953, Mies van der Rohe officially granted the production rights to Florence Knoll, who was a close friend during their time at the Illinois Institute of Technology. Today, Knoll continues to produce the chair in the U.S.A. to the exact specifications of the original design. Photo Courtesy of Knoll
ShopVitra Nelson Polygon Clock
While essentially round, the sharp lines throughout the Vitra Polygon Clock by George Nelson do indeed suggest a 12-sided polygon. Each arm is a tapered spike of rich walnut tipped with a three-dimensional diamond. The rich tones of this classic wood clock are accented by an orange minute hand and white hour hand. Photo courtesy of Connox
ShopThe exterior stone wall, which carries through into the interior, and the fieldstone floors draw nature inside. A custom, built-in window seat anchors the sitting room.
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An upper mezzanine overlooks the great room. Full-height glazing provides views of the surrounding natural setting. The stone wall appears to seamlessly slide from inside to outside. A original, signed Isamu Noguchi paper lamp hangs above the stair.
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For the addition, architect Wolstenholme and Wolff remained true to the original material usage and character. The 36-inch stone walls were built using the same local field stone as the original. Windows and openings, constructed in more energy-efficient glazing, match the original dimension, while stone floors were matched to the original fieldstone. Eco-friendly upgrades to the home include triple glazing of the north-facing windows, conversion to LED lighting, and added foam insulation into the roofing. The addition blends into the rest of the home seamlessly, as if it was always part of the composition.
The view from the addition looks outward. A decorative pendant, In The Wind Vertical from Nemo Lighting, hangs above the entry way.
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The kitchen cabinets were updated in a pecan finish, in roughly the original layout. Originally, the kitchen had a wall separating it from the rest of the room, and two sliding doors that could be opened. This wall was removed to open the kitchen to the living space.
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The floors upstairs, originally a battleship gray linoleum, were replaced with oak flooring.
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The furniture is a mixture of authentic vintage pieces, collected over many years; custom-built pieces; and iconic designer creations.
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The guest bath includes a custom vanity complete with Kohler fixtures and a Corian countertop. Atlas Concorde porcelain tiles decorate the sink wall and bath floors.
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The Fullam Residence stands as a stunning example of the functional, sculptural, and spatial complexity that came to define Rudolph's unique architectural style. Now completed with intricate care, the home will continue to be a lasting influence on modern architecture and a great addition to Rudolph's published portfolio.
Project Credits:
Architect of Record: Paul Rudolph (original)
Architect of Record: John Wolstenholme (addition)
Landscape Design Company: Scott McLeod, Classic Gardens
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