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The 1936 Herbert and Katherine Jacobs House in Madison, Wisconsin, marks the first Usonian-style home designed by Frank Lloyd Wright.
It’s not uncommon for the family’s friends to come pitch tents out back and spend the night.
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 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.
Large timber-framed glass sliding doors open the kitchen/dining space to the rear courtyard on two sides.
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 new addition opens the interiors to the garden with floor-to-ceiling windows and easy access to the yard.
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.
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.
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.
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 rear view of the home.
The spacious backyard features mature trees, including avocado, that shade the home in the afternoon.
The flattop Eichler at dusk.
A nighttime view of the home seen from the northeast. To the right is the bedroom wing extending north. To the left is the living room wing stretching to the east.
The view of the house seen from the driveway. To the left is the workshop and wood shed connected to the carport by a trellis.
Set far back on a wooded 7.2-acre property in Bernardsville, New Jersey, the James B. Christie House takes advantage of its private location with ample glazing.
Beautifully renovated, the home has excellent curb appeal with low maintenance landscaping.
Lovely lines and heaps of character make this midcentury property a true gem.
The stylish midcentury has an elegant profile.
The ground floor follows an L-shaped plan, and is accessed via a tiered concrete terrace.
The second C folds towards the interior, and takes in the morning sun.
One volume serves as a home for Ortega, his wife and children, and the other, as the home for his elderly parents.
The house is composed of two volumes.
To enable the two families to live independently, and interdependently, Estudio A0 co-founder Ana María Durán Calisto came up with a 5,457-square-foot home that consists of two volumes, set in a Z formation.
A wooden screen provides privacy, and offers protection from the strong midday sun.
Front facade