All Photos/exterior/building type : cabin/building type : house

73 Exterior Cabin Building Type House Building Type Design Photos And Ideas

The positioning of the home’s roof allowed for a double-height, north-facing wall with four matching windows and an accompanying skylight. “The house refers to rural houses: a sloping roof, completely coated by stone and with no eaves,” Vanotti says.

Reinforced concrete stands behind the stone facade to provide insulation. Vanotti wanted to focus this project on the simple materials of concrete, natural larch, iron, and wood.

An outdoor bathroom is tucked away, out of sight, in the garden. “The external fencing and outdoor shower were constructed using recycled materials from a collapsed shed near the site,” Simpson says.

Architect Andrew Simpson and the owners wanted to keep the design simple and grounded with “a sense of modest honesty.” In terms of the exterior, “as much of the existing cedar cladding as possible was retained and reused.”

Each prefabricated unit is covered in aluminum but built from SIPS: Structurally Insulated Panels that consist of thick insulation sandwiched between plywood panels. These high-performance panels keep the interior protected from the desert's ambient heat.

“There’s a presence to that place—it’s vast, and constantly shifting,” Moffitt says. “It was clear that this house should be an observation shed for the changing landscape beyond.”

Set amongst the trees, with its simple form and earthy adherence to wood, the home fits in well. "Veronica and I walked the land for many months before we decided where to put the house," says Hirsh. "We had picnics there. We sat looking east. We sat looking west. We sat looking south. The site felt wonderful."

Photo by Ron Johnson.

A linear sequence of eight, 12-foot bays extends the length of the home from rear bedrooms and an office to the open kitchen and living room space. The modest form, a reflection of the owners' desire for simplicity, required few materials: wood, concrete, and steel.

Photo by Ron Johnson.

The home’s reflection is seen in the lake at dusk. The white aluminum sleeves dramatically break through the timber, creating visual portals to the surrounding scenery.

When the shutters are closed, the house assumes an introverted character.

The eating and sleeping quarters have settled easily onto the shores of Shoal Lake.

Bates Masi’s renovation and expansion of Harry Bates’s 1967 house in Amagansett, New York, salvaged much of the home’s original cypress decking and incorporated subtle additions to the exterior. Because cypress quickly develops a patina, it was only a matter of weeks before the new facade matched the color of the original wood siding. Photo by Raimund Koch.

Cabin Knapphullet is small cabin inspired by its location nestled between large rocks and low vegetation of the Sandefjord coast in Norway. It is only 323 square feet, but contains an open living space with a bathroom and a mezzanine bed that sleeps two people. Although the building occupies a small footprint, the space expands vertically over four levels including a roof terrace.

Rocks that were unearthed while digging the foundation make up the hardscape in the rear, beyond the open porch. “It’s one of my favorite parts of the house,” says resident Laura Sohn. Sanders Pace Architecture finished the exterior in western red cedar treated with Sikkens Cetol.

Farm House, 2008. "Doing a small house is like doing a portrait of your client," says Jarmund. "In one case it’s an old abandoned farmhouse for a pair of historians. In another, it’s a guy who wants a house out of James Bond."

Villa Bjørnsen/Sund, 2003.

The Red House, 2002.

Debbi Gibbs loved the seeming wilderness of the area, especially considering its relative proximity to her New York apartment. She bought a ramshackle cabin with plans to tear it down and start fresh, then bided her time until she found just the right architects. Enter Joseph Tanney and Robert Luntz of Resolution: 4 Architecture, who granted her wish for an open prefabricated structure with custom design touches.

A prefabricated lakeside New Jersey retreat is one woman's outdoorsy counterpoint to city life.

Visitors enter through a narrow staircase, visible here as a slit to the right of the courtyard.

A square hole in the ground and a concrete slab are all that demarcate Byoung Cho’s Earth House from the surrounding countryside.

The facade is clad with beveled siding, stained dark to meld into the forest.

Building atop the foundation of a previous greenhouse was a cost-cutting measure; it allowed the project to be considered a renovation and thereby qualify for a temporary tax reduction. Its traditional, gabled form also pays homage to the original structure.

The House for a Musher is all about taking advantage of its hilltop site. The courtyard in the front has vast views and the house itself is oriented toward the surrounding landscape.

The facade consists of exposed concrete, Galvalume roofing, and cedar or torrefied wood coating. The homes are carefully positioned to keep other structures out of sight.

Wood from the property’s felled trees was incorporated into every room in the 3,000-square-foot house.

This dwelling joins a number of structures—such as a boathouse and guesthouse—owned by one family and used for vacations. They needed a new house to accommodate new generations at the reatreat.

“From the street, it appears as a rectangular building with sloping shed roofs, but this is actually an illusion,” Hutchison notes. “The floor plan is actually U-shaped, wrapping around an entry courtyard that is contained by the continuous west facade.” A standing seam metal roof by Custom Bilt Metals blends in with the cedar siding.

In the land of large mountain lodge wannabes, two California natives tuck Utah’s first LEED for Homes–rated house onto the side of Emigration Canyon. Photo by Dustin Aksland

Cedar slats mark the facade of Floating House, Doug and Becca Worple's lake house in Ontario. The architects, MOS, chose materials and shapes that wouldn’t stand out. “They’re really simple, almost Platonic forms,” principal Michael Meredith says. The modest cabin has boat, a gabled roof and a cladding of untreated cedar, a material that shows up on docks and homes along Georgian Bay. “Allowing the buildings to weather seems the right thing to do,” Sample says. And it’s ready for winter: Sliding barn doors seal the place up as an impenetrable box.

The father of architect Greg Dutton wished to build a cabin on the family farm, located within Appalachian Ohio and home to 400 heads of cattle. Dutton, of Pittsburgh and Columbus, Ohio-based Midland Architecture, presented this design as his father’s birthday present in 2012. Finished in 2014, the 900-square-foot cabin operates entirely off-the-grid.

San Francisco firm Lundberg Design built this cabin out of reclaimed materials, including the exterior redwood, which has aged into an elegant, ashen gray. In a past life, the pool acted as a water tank for livestock.

Architect Charlie Lazor opted for a wash of black on the prefab cabin he designed on Madeline Island, Wisconsin.

“I wanted more of a skeletal look for this house, and less of a chunky, log-cabin look,” says Panton, who added stark steel bracing across the entire length of the porch’s roof structure.

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Designed by Jensen & Skovdin, the Juvet's first-generation cabins are built on stilts in order to impact the environment as little as possible. Despite the modernist aesthetic, the buildings were built by local craftsmen using traditional materials and techniques.

One of the most astounding views from the house extends all the way to Mt. McKinley, the highest point in North America at over 20,000 feet.

Perched over a cliff face, the hooded deck of the Gambier Residence reads like a ship’s prow over Howe Sound, the scenic waters near Vancouver.

"The overall design is influenced by the use of traditional, locally available, and/or low-maintenance materials such as corrugated metal roofing, cement board lap-siding, heavy timber construction, and indigenous wood species," Brun says.

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While it was tempting to embed the cabin into the hillside, Balance Associates sought a smarter solution. By elevating the project on two concrete walls, the clients could avoid a costly foundation, improve their view of the landscape, and stay above the thick winter snowfall.

Transformer or beach hut? Positioned in a coastal erosion zone, this holiday retreat for a family of five is completely capable of being relocated. An oversized shutter allows for protection from the elements when not in use and opens to allow sun in during the winter or provide shade on hot summer days. Waikato, New Zealand. By Crosson Clarke Carnachan Architects, from the book Rock the Shack, Copyright Gestalten 2013.

According to Remijnse, since the only direction they could build on the small site was up, they decided to add height with a gabled roof.

The cabin’s exterior walls and roof are clad in overlapping stone plates that mimic the look of traditional wood paneling found in Western Norway. “It provides an affinity with the cabins nearby,” partner and architect Nils Ole Bae Brandtzæg explains. Solar panels cover the chimney pipe, lighting LED lamps inside.

At night, the interior lighting casts the geometric window framing in silhouette.

A cantilevered cabin designed by R D Gentzler blends into the forest, even as it hovers above a 20-foot drop-off. Its south face is almost entirely glass, but a roof canopy limits solar gain. “We sit on the deck all afternoon watching the trees, and the time just flies by,” says resident Maricela Salas.

Cabin Nordmarka, 2006.

“There had been two or three primitive cabins on the property in the past, which resulted in a clearing that we utilized for the site,” Joseph Herrin says. “This allowed us to avoid any further tree removal for construction, and provided an opportunity to begin to restore that portion of the property with native landscaping.”

The home’s metal cladding is Pac-Clad, a material typically used for roofs.

Architect Bill Yudchitz asked his son, Daniel, to help him create a self-sustaining multi-level family cabin in Bayfield, Wisconsin.

The only clue to the property's past life are the train tracks which traverse the garden.

"We felt it was important to create continuity with nature, rather than compete with it," Soranno stated. "The connection with nature is what makes this place special."

Occupying a footprint of just 110 square feet, the studio finds smart ways to maximize space. Central to this undertaking is the studio’s cantilever, which appears to float over the stream. The cantilever affords the studio more internal volume, while occupying no greater footprint below.

The building takes advantage of passive heating and cooling, thanks to Blee and Halligan's strategic design to capture the most sunlight in the winter and provide the most shade in the summer. The above-ground glass facade faces east and draws in the daylight, but when the sun proves too strong, whoever is staying in the structure can close the internal shutters to beat the heat.

Here's the cover image in all its glory. Van der Rohe's Farnsworth House is the essential glass house (sorry Philip J) and looks pretty spectacular in the snow. One wonders if those windows are double-paned though. Photo by Jason Schmidt.

Subtle features incorporated into the design, including an elevated terrace and jetty, help the home float above the island.

The sleeping cabin perches on a rocky rise near the Floating House; Meredith imagines these two as a start of a string of buildings that will wrap around the island.

Every year Marlboro College, which is located in rural Vermont, hosts the Marlboro Music Festival in which 80 of the most prominent classical musicians join together and work to hone their craft. For seven weeks, they work, live, and rehearse together and also host select public performances. Since its inception in 1951, the program has steadily welcomed more people to participate, outgrowing its accommodations. Enter architects Joan Soranno and John Cook of HGA who developed five site-specific cabins that tread lightly on the land and respect the festival's roots. Soranno and Cook created deceptively simple-looking structures that update the regional vernacular.

"In Marlboro, you get a different way of not only looking at the world, but also looking at life," stated Mitsuko Uchida, the festival's current artistic director, in a release. "If you spend weeks together, day in and day out, eating meals together, chatting and sitting around, you begin to get the basic outline of what it means to be a musician. Ultimately Marlboro is about the concept of time. We have time to rehearse and time simply to think."

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