Shou Sugi

The shingle-like wood pieces,

The entrance to the home is on the ground floor. It’s accessed from a large timber deck, which is separated from a secondary deck by a landscaped gravel area that marks the entry.

Unlike the rest of the home, the front facade of the property is entirely covered in sustainably sourced silvertop ash wood with a blackened finish.

The home aims to reduce long-term operating costs through the use of solar power and energy-efficient appliances, resulting in lower energy bills. Carefully considered niches and deep reveals throughout allow the sun to reach the concrete ground floor slab in winter—and help moderate heat in the summer.

The home's form and position have been informed by the path of the sun.

The resort has 24 suites, each 1,065 square feet, and four two-bedroom villas, at 3,710 square feet. Other on-site amenities include a full spa, rock garden, workout center, yoga studio, library, bar, and restaurant.

The exterior Red Ironbark cladding was charred—using the Shou Sugi Ban technique—to increase the longevity of the timber and as a nod to the significance of fire.

In Texas, where everything is bigger, Ryan McLaughlin is placing his bets on something small. Specifically, a simple 160-square-foot cabin that he hopes city-dwellers will book to get away, find some focus, and reconnect with nature. The result is a laidback, pitched-roof cabin in which every inch of space is thoughtfully allotted so that guests can spend the maximum amount of time outdoors.

Corner window at entrance. The backside of the house backs up to a steep cliff and an old concrete train tunnel.

“When new buildings attempt to mimic original buildings, the result lessens the integrity of both new and old,” says Minarik. “The new should honor the new uses, without challenging the old for attention.”

While the owners really liked the idea of shou sugi ban, they opted for a more cost-effective black stain. The random-width, reverse board-and-batten siding reflects the wabi-sabi concept. “The builder said the math for the random siding was torturous,” the wife said. “We didn’t know how hard it was to make things look simple.” DeNiord planted hay-scented fern and lowbush blueberry sod around the house. “We didn't want any side of the house to feel unconsidered,” he says. As for the local boulders he placed around the house and terrace, he says, “They give the feeling that the house grew up around the outcroppings.”

Front entry

Helen Street

The house is divided into three sections connected by a series of outdoor galleries. “When I walk from one room to another, I have to go outdoors and feel the weather and nature—rain, cold, and sun,” says Sævik. Instead of emphasizing the expansive panorama of oak, pine, and aspen trees, the house frames select views—a move inspired by Japanese design.