Vale

Raise the Roof Using a commercial roof in a residential project was a first for architect Michael Epstein. While similar systems are often covered, Epstein chose this long-span roof deck from Epic Metals for its beam-like interior face, which hides fastenings in its deep grooves, creating a flat-panel appearance.

The house's triangular shape effectively blocks sight of a large wall that stands nearby. "The form of the plan really follows out of making the best for the garden and the views," Koolhaas says.

The house's "traditional" feel, Koolhaas says, is "only as thick as the layer of wood on the outside." When entering, the eyes travel straight back through the massive windows to the green yard beyond. "It appears as though there is no house behind the facade, like the houses on a movie set," he says.

The driveway leads down a gentle slope to the garage, which is partially tucked into the earth, covered by a green roof, and fronted by a ramp leading to the entrance. Alexander Prideaux of Aurora Landscape helped integrate the house with the site.

One of the main goals of the construction was to do as little harm as possible to the existing environment, which includes waterways that salmon depend upon. Herrin and his team created a garden roof that covers the full extent of the home to meet this objective. “This helps control storm water runoff and also replaces lost insect habitat—insects being a critical food source for juvenile salmon,” he says.

In the kitchen, a sculptural replica of a shark hangs above the sink.

“We did our best to tuck the buildings into the site—the goal was to get up high on a perch. It was a matter of setting that elevation and working back down with the topography.”—Riley Pratt, architectural designer

Two smaller, adjacent structures house autonomous bedrooms, each equipped with a full bathroom.

Norwegian architect Marianne Borge.

When Oslo-based architect Marianne Borge was approached in 2004 by a client who wanted an actual cabin rather than a second home, she was instantly inspired by the challenge of working on a smaller scale. The home, called Woody35, has a distinct shape that makes it stand out from its surroundings despite the modest size of the building.

Large sliding glass doors allow daylight to fill the living room. Smaller windows are placed in the kitchen area and the sleeping loft. The exterior is clad in heart pine which needs very little up-keep and is known for its strength and hardness.

“It’s never static or solid here—with thelight, there’s always some sort of movement.”—Austin Lowrey, resident

The Outdoor Kitchen by Studiomama

Ingrid shows off one of the chickens the family raises in their large and very productive coop.

The Norm barstool has elegant, extended legs.

The Lollygagger sofa is a double-wide extension of the Lollygagger lounge.

Anyone fond of putting flame to food will appreciate the appeal of the Mangiafuoco fireplace. Pile wood up high for a roaring fire or place the accompanying grill over the kindling and throw some steaks on it.

The alleyway extends into a full kitchen, where meals can be prepared right beside family gatherings. While the main frame of the home was built with the typical concrete, brick, and steel, the materials for the roof and floor tiles, as well as doors, windows, shelving and interior furnishings, were sourced primarily from demolished Saigon homes.

From the deck you really get a sense of the two main volumes of the house. One faces inward and the other out, a fine representation of Boone's ideas about the division between work space and living space.