172 Exterior House Wood Siding Material Brick Siding Material Design Photos And Ideas

At the McClendon Residence’s entrance, ipe wood siding and soffits contrast with light concrete-block walls. "We used natural materials and colors for a modern aesthetic that would fit in with the neighborhood," explains Andrews. "As you approach, the house is subtle and quiet rather than being ostentatious and loud."
Solar panels line the roof to soak up the Australian sun. The home doesn’t use any gas—the cooktop is induction, and heating and hot water come from a heat pump.
Gresford Architects restored and renovated this historic family homestead in South East England. The old barn had been transformed into a residence, but the structure lacked its original barn-like character, which the owners wanted to embrace.
“One of the clients’ families has a history of being heavily involved in beautiful vintage wooden boats,” says architect Trevor Wallace. “The timber screen plays off that idea and introduces a very warm, natural material to face the street.” The timber screen wraps around the side window to offer added privacy from the main entrance.
The brick home had a previous addition at the front that was modified during the renovation. “The client was keen on a heavy black aesthetic and we were worried it might feel very heavy, especially as it is the community-facing element of the building,” says architect Trevor Wallace. “So, we lightened it up and made it feel a bit warmer with the timber screen.”
An exterior view of Maison Louis Carré as it delicately integrates into the surrounding landscape.
Aalto designed Maison Louis Carré with an immense lean-to roof made of blue Normandy slate, "pitched in imitation of the landscape itself". The facade is built from white bricks and marble, while the base and parts of the walls are Chartres limestone.
Located in Providence, Rhode Island, the American Woolens Dye house is a brick and timber structure that was originally built in 1880. The building is listed on the National Register of Historic Places, and it served as a textile mill before a thoughtful and extensive renovation transformed the property into a gorgeous live/work space.
The long, low home sits unobtrusively atop the ridge. Large areas of glazing open the home to the landscape to the south.
An enclosed porch with a fireplace sits between the living wing and the services wing, providing a pivotal point from which the home fans out.
The simple, affordable material palette allows the home to sit comfortably within the natural landscape.
The home is oriented to take in views of Mount Canobolas in the Great Dividing Range. With an elevation of 4,577 feet, the extinct volcano is the highest mountain in the region.
Floor-to-ceiling glazing ensures natural light is plentiful throughout the home. The silvertop ash cladding on the exterior will develop a silver-gray patina over time.
The home is respectful to the rural site and champions the view. Thanks to the prefab construction, there was very little earthwork and minimal site impact. This approach also helped to eliminate potential weather delays—which would have been likely as, owing to the high altitude, the area frequently experiences frost and snow in winter months.
The new house embraces the dual frontage potential of the lot - stretching from street to street. On the rear, a garage and second living space open to the street.
The house directly engages with the street through direct access, large openings, and windows.
The architects knew the roof would be clearly visible within the neighborhood, so they opted to use slate for its beautiful aesthetic.
The shadow cast by the roofline resembles a series of mountain peaks.
Vibrant red siding references the original buildings on the site.
A yellow facade adds character to this recently renovated 1961 home on a corner lot in the heart of Vista Las Palmas, another Alexander subdivision.
The box-shaped extension plays off the familiar farmhouse typology, creating a series of intriguing contrasts.
The brickwork of the original gabled farmhouse was painted white, referencing the local vernacular, and a new corrugated metal roof was added.
Building the addition upward instead of outward allowed for more space and better views without excavating across the hilltop.
The home’s namesake is a 26-foot-tall shade structure called a ramada. The name derives from the Spanish word for ‘branches,’ and it’s a regional construction technique mastered by the Tohono O'odha tribe. A total of 20 Douglas fir telephone poles support the 2 x 4 lattice canopy, which provides shade and casts dramatic shadows across the white, mortar-washed slump blocks.
Large timber-framed glass sliding doors open the kitchen/dining space to the rear courtyard on two sides.
"The exterior is Deep Caviar by Benjamin Moore, but with a slight twist,” says Wei. “In order to create subtle variations throughout this sprawling exterior, I played with the darkness level of Deep Caviar and also changed up the sheen of the paint.”
Built in 1949, Byrdview is one of four residential homes designed by the famed midcentury architect William Pereira, known for his futuristic designs that include the Transamerica Pyramid in San Francisco.
The external brick walls are part of the 1990 addition. The upper part had been rendered in acrylic and painted butter yellow. This was removed and the section was re-clad with a charred solid timber shiplap cladding. An enormous double-height window floods the living space with natural light.
The main volume of the extension is constructed from offset Douglas fir battens painted blue and gray. This reflects the vertical lines and gray color of the ribbed render used in the extension to the side of the house.
Built in 1957, the Goldman residence is a classic midcentury in the Wellshire/Southern Hills neighborhood of Denver, Colorado. The clean, minimalist exterior is clad in brick and wood with large windows overlooking a lushly landscaped lot.
Wide glass apertures connect the living and dining room to the new backyard.
HabHouse discovered that the home originally featured an earthy color palette of browns, grays, and greens. The home's current colors are inspired by another Straub design, The Thompson House on Poppy Peak Street in Pasadena.
The master suite looks out on a gravel patio with Hee lounge chairs by Hay.
The Palmer House was built for William and Mary Palmer during the early 1950s, and is one of Wright's last residential masterpieces. Completely secluded and nestled against the northeast side of the beautiful Nichols Arboretum, the house is only a five minute drive (or 20 minute walk) to downtown Ann Arbor. 

The 2,000-square-foot home is furnished with a collection of Wright-designed furniture and even includes a teahouse. The signature Wright design complements the sylvan setting with bold triangular geometry and a cantilevered overhang.
Taliesin West was Wright’s winter home and “desert laboratory” in Scottsdale, Arizona from 1937 until his death in 1959. The complex is the headquarters of the Frank Lloyd Wright Foundation.
Also known as Still Bend, Schwartz House was designed as part of a LIFE Magazine competition in 1938, in which the publication commissioned eight architects to design a "dream house" for four typical American families. The design became reality when Bernard Schwartz commissioned the architect to build the home for his family in Two Rivers, Wisconsin. Modified for the site, the 1940 house boasts classic Wright touches like red tidewater cypress board, huge windows, and interiors in harmony with the natural surroundings.
Although primarily an event space, the Emil Bach House in Chicago's Rogers Park neighborhood is also available for rent. Designed in 1915 for the president of a brick company, the classic late Prairie-style home is designed with flat overhanging roofs and a short series of geometric cubes. The home recently underwent a two-year renovation and is now fully restored with original elements.
This tiny house set on the bucolic Mirror Lake in Wisconsin is balanced on the edge of a steep hill and measures only 880 square feet. The "flying roof" seems to hang in space without support. Wright was already in his 90s when Seth Peterson asked him to design the cottage, and the 1958 building was Wright’s last Wisconsin project. Wright died in April 1959, before construction was completed.
David Easton, a pioneer in the field of rammed-earth construction, developed sturdy blocks made from recycled and waste material and then used them to build a house for himself and his wife, Cynthia Wright, in collaboration with designer Juliet Hsu.
A view from the new detached garage towards the renovated 3,600-square-foot Harrison House. The new addition comprises a large, cypress-clad volume atop a small concrete plinth that houses a studio space.
The architects removed the carport to improve views of and from the house.
"New versus old can be decoded where the original yellow brick is exposed and seen in contrast to new cypress siding and white stucco surfaces," note the architects. "The black color of the original wood, post-and-beam structure is extended to the new, exposed black steel."
The alleyway facade reveals the contemporary addition with cedar-framed windows and a hardwood battened screen. The clerestory window glows at night behind the battens.
A layering of old and new, solid and transparent are evident in the play of materials and form. The original brick walls remain, wrapped by the wood- and metal-clad addition.
The front of A Mews House was allowed a 10-foot setback, similar to existing homes on the street. A utility pole proved too expensive to relocate—it would have cost $18,000 to do so. “That pole dictated the way a car would access the property, thereby dictating the car pad location and eventually heavily influencing the location of circulation in the house,” says architect Alex Wu.
A decorative cinder block wall edges the property and provides a sense of enclosure without hemming in the yard too tightly.
The solution to the problem of the telephone pole was to place the entry at the side. “Putting the home entry on the side allows one to create full rooms at each end of the house without running a hallway through them,” says Wu.
The solution to the problem of the telephone pole was to place the entry at the side. “Putting the home entry on the side allows one to create full rooms at each end of the house without running a hallway through them,” says Wu.
Environmental engineer Max Fordham outfitted his sustainable home with experimental insulated shutters.
Unlike other new houses in the Garden Oaks/Oak Forest neighborhood of Houston, the Gottschalks embraced a simple, functional pavilion.
The exterior combines recycled brick, radial sawn timber, and galvanized roof sheeting. "Materials were selected to meet the clients’ brief that the house fit within the cognitive idea of an old shed," explain the architects.

Zoom out for a look at the modern exterior. From your dream house, to cozy cabins, to loft-like apartments, to repurposed shipping containers, these stellar projects promise something for everyone. Explore a variety of building types with metal roofs, wood siding, gables, and everything in between.