Pattern Builders

lakehouse progress

 exterior rendering

We are making the final revisions to our architectural drawings on this project, which is scheduled for a March 1, 2011, groundbreaking.

The home implements a variety of time-tested construction techniques.  Salvaged douglas fir timbers will be fashioned with traditional mortise-and-tenon joinery, granite quarried from New York state will adorn most of the exterior, and natural materials from the site itself will be used to make pathways and site-cast sills and columns, and local beach sand will texture our mortar joints.

The home is curved, optimizing the view of Lake Erie and focusing the home's initial presentation on approach.  The curved form also will naturally deflect harsh lake winds, and contributes a stunning aspect in the Lake Room, long hallways, and the arbor.  Local patterns of material usage, exposed rafters, and operable shutters complement other nearby buildings.

 first floor plan

 

second floor plan

 
 vignettes

pattern #206 - efficient structure

 

hard work, camaraderie, and passion for a craft

The need to build sustainably requires us all to challenge the status quo. Planning for an efficient structural system will conserve materials, labor, and $$$ while adding to the overall quality of any project.

Many builders, architects, and engineers have wrestled with the question of how to create a good pattern of efficient structure. The question is so fundamental and challenging that it begs fresh debate on every new project. There are as many answers, it seems, as there are problem-solvers. For Calatrava, the structure becomes the building.  For Buckminster Fuller, structural efficiency is a triangle that culminates in a faceted dome. Gaudi's experiments in compression, Roebling's resolution of tension, and Gehry's experiments in avoiding the issue altogether have produced stunning, remarkable, and compelling structures.

I'm no Calatrava, and experimentation with new ideas often happens at a client's expense. At it's worst, it can lead to folly for folly's sake, eventually ending up as trash. That, I predict, will be a problem for Gehry's progeny.

Re-inventing efficient structure on every new project isn't necessary. But, a critical enquiry responsive to a project's needs and sustainability issues, I think, compels builders to return to simpler, older, and more sustainable methods of construction.

"But a home," you might say, "is a home. It doesn't need to be some architectural or engineering masterpiece. And the most efficient structure for a home is stick framing - everybody does it that way." The truth is, not everybody does it that way; and if you're building a home to endure, inspire, and comfort you and your family, the issue deserves more thought.

Hilliard Residence, Kearney, NE

 

A home, in particular, ought to be a place that inspires and comforts its owners.

In A Pattern Language, by Christopher Alexander, pattern #206 - efficient structure - lays out the methods by which a builder can build the most structurally efficient building, if that's to be a goal. The fundamental question asked is...

"What is the best way to distribute materials throughout a building, so as to enclose space, strongly and well, with the least amount of material?"

Alexander rightly points out that compression is a much simpler force to resolve efficiently in a building. Tension requires the use of scarce and expensive materials to resolve its forces. Following his logic to its conclusion, he argues that when the pattern of efficient structure is desired and practically implemented, buildings very much like Fonthill are the result.

The principles for the pattern of efficient structure, for Alexander, are inherently tied, and precedent, to the layout of social spaces within the building. The structure follows the social spaces. Efficiency compels the use of good materialsand specifically those good in compression. Continuity of the structure "depends on its connections". To be the most efficient, a building's structure would be made of a homogeneous, compressive material, have vaulted ceilings, load bearing walls, and thickened frames around openings.

Stick-built homes, then, according to Alexander, are not examples of efficient structures. These types of homes are not efficient at all. They're expedient. We've all seen the derivative problems of tract construction. If we were to draw conclusions strictly from our built environment, we would be led to believe that stick-framing must be the most efficient structural system with which to build a home. After all, everybody does it that way, right?

 

Stick-built homes are a remnant of the Industrial Revolution; older and more inefficient than the internal combustion engine. Building a stick-framed home today with 2 x 4's, laminated or pressed sheet goods, and thousands upon thousands of small clips and fasteners is a miserable affair. I've done it. It's inglorious, wasteful, and uninspiring; and that's the perspective of many of us who have built them.

Framing stick-built homes in 1993-94, I worked with a great crew. The homes we built were very nice by most any accepted standards. Even today, whenever I drive by one of them, my mind recalls the great tradespeople I worked with, the fun we had, and the hard work expended. But I never think, "Wow, that's a great home!"

It was fast, easy, and cheap. "The way we've always done it" could be the stick-building industry's motto.

As we struggle to change our buildings, we find that change is made more difficult by the codification of our current, inefficient methods. Building codes have become massive prescriptions for perpetuating the status quo. The IRC (International Residential Code) in particular, is a vast attempt to fix known problems of our stick-built, de facto standards of residential construction.

The code writers' folly is also their job security - to be ever-chasing the next problem in this broken system.

 

 

Life is short. To labor hard every day at a job in exchange for a check is just that; a check for hard labor. People need and deserve more than that in exchange for their labor. When we have a choice we often choose the longer, more scenic path, the more invigorating ski trail, a well-presented meal, the better-built automobile, the hand-made rug, the more difficult assignment, a better way. We thrive on challenge, desire, competition, and passion. Such is the motivation of any craftsman.

 

When the process and products of labor neither require nor inspire passion, we become hopeless creatures doing jobs for money at the expense of craft and life.

 

 

Inspired to find a better way, I made my way to Benson Woodworking in 1995 and studied timber framing with people who were committed to a bigger picture. What drove me there was the quest for another learning curve and efficient structure.

Timber framing is far more efficient and sustainable than stick construction. I'll forever be a fan. It's structure behaves with much more continuity because of its connections. Timber frames aren't perfectly efficient structures, either, but even for Alexander they're a step in a much better direction. The connections require forethought, skill, and attentiveness to detail which are lacking in stick-built buildings. The fact that much of the structure is left exposed to view is educational, comforting, and celebratory.

good joinery connects eastern white pine, southern yellow pine, and douglas fir

 

I think structural efficiency as a goal itself is worth exploring. The benefits are creative and inspiring spaces, enduring quality, and evidence of craft by the hands of the craftsmen. Alexander alludes to this latter aspect in the question...

"what is the best way to distribute materials..."

 

The word distribute considers the issue of labor. It's not merely a question of materials. Materials are distributed and installed only with labor. Many times in our lives we find ourselves focusing on the materials of our craft and take our labor for granted. At least in my timber framed work, I never felt that my labor was lost.

 

Hilliard's arch in the old shop of Benson Woodworking, Alstead, NH

 

 

Lastly, Alexander is looking for "the best way to distribute materials". Indeed, that may be his life's quest. In The Nature of Order, and The Timeless Way of Building he clearly argues that the way in which we do things may matter most.

 

So, my experience has been that only when we efficiently combine labor and materials with some higher goal do we succeed in building something wonderful. And when the way itself is an objective, efficiencies of many sorts are happy consequences. 

 

 Kim and Dr. Rusty Hilliard, 1997

 

 

pattern #181 - the fire

There is no substitute for fire. - Christopher Alexander

above: one of the many fireplaces built by Henry Mercer at Fonthill

Sustainability issues aside, a lot has been written about fire pits and fireplaces and what is our natural desire to be comforted, warmed, and gathered while engaged in re-energizing rest, thoughtful silence, or friendly conversation in front of, or around, a fire.

Years ago, I was taught that an efficient fireplace needs to have 3 basic elements - outdoor air intake, glass doors, and a blower or other means to efficiently increase and/or harness the heat emitted from a fire.  As a basic rule, that's a good start, but it leaves other important elements out of the picture.

10 years ago I worked alongside a mason and we built 2 Rumford fireboxes and a chimney.  Neither of us had built a Rumford fireplace before, and it was a great experience.  I cut and laid the firebricks and flue tiles, and figured out the compound miters for the flue tiles where the lower flue had to angle around the second floor firebox.  We worked through several cold weeks sharing our knowledge and enjoying the peaceful work.  The mason taught me how to lay brick and block, and I taught him how to use a framing square to lay out compound miters.  The weather reminded us that perseverance might be a builder's most valuable tool. 

The rumford fireplaces we built were ones that I had designed using some invaluable information from the classic book by Vrest Orton and products from Superior Clay Corporation. Orton's book is a great little historical resource based on the research of Sir Benjamin Thompson (Count Rumford). The fireplaces Thompson documents have become known as Rumford fireplaces. Superior Clay Corp. builds on the same research and manufactures quality parts to enable builders and masons alike to build perfect Rumford fireplaces and chimneys.  I recommend both resources as necessities for the start of every good fireplace.

Rumford fireplaces are shallow with angled sides and very specific dimensions.  They throw a lot more radiant heat into a room than any other fireplace design, smoke less, draw well, and because they're taller they greatly increase the viewing area of the fire.  When it comes to wood-burning fireplaces, Rumford fireplaces are the only way to go.

In The Psychoanalysis of Fire by Gaston Bachelard further explores the importance, need, and effects of fire in our lives.  Christopher Alexander refers to this tome as he describes his own views on his building pattern #181 - The Fire.  Bachelard heralds the concepts of reverie and repose centered around fire, going deep into our passion and desires for it.  He notes, too, that while we used fire for cooking, it's about much more than that:

"And it is always like that, through a kind of extra pleasure - like dessert - that fire shows itself a friend of man. It does not confine itself to cooking; it makes things crisp and crunchy.  It puts the golden crust on the griddle cake; it gives a material form to man's festivities. As far back in time as we can go, the gastronomic value has always been more prized than the nutritive value, and it is in joy not in sorrow that man discovered his intellect. The conquest of the superfluous gives us a greater spiritual excitement than the conquest of the necessary.  Man is a creation of desire, not a creation of need."

Thus, we will probably always desire fireplaces in our homes. Based on sources above and my own personal experience, I think the basic elements of a good wood-burning fireplace ought to include:

• Rumford proportions,
• Quality parts from a reputable manufacturer/supplier such as Superior Clay Corporation (clay throat, damper, smoke chamber, flue tiles, spark arrestor, firebrick and refractory mortar),
• Outside air intake kit

I'm not convinced that glass doors or a fan blower are absolute necessities as I was first taught - my experience is that the Rumford designs kick out so much heat that a blower is unnecessary, and in many cases a good screen is nicer than glass doors so one can enjoy the sounds and smell a crackling fire.  Glass doors, however, allow one to prevent the escape of indoor air up through the chimney, control the rate of burn, and offer more safety and assurance that flying embers won't cause trouble when the fire is unattended.

Other important considerations are that the fireplace should implement a hearth, mantel or hood, and be properly scaled and positioned in the building and space.

Alexander writes that a fireplace should be located in a common area "to draw people together". Also, he explains that the fireplace should be positioned so that one can pass it in view without necessarily disturbing those around it, but at once encourage other passers-by to gather. The space in front of the fire should accommodate seating free from obstructions of doors or paths to adjacent rooms. Lastly, Alexander reminds us that the fireplace should not be a dead space when a fire is not burning.  That is, be sure there is a view, activity, window, etc., to enjoy when there is no fire lit.

On this last point, there is a trend to place large, flat-panel televisions above fireplaces today.  Many consider it sacrilege.  I empathize.  But, one has to recognize that the TV, especially for many American families, has replaced the fireplace in function.  While I agree that is a poor substitute, the fact remains that the TV, and movies, entertainment, etc., are inevitable facts of our culture.  For those reasons, I think that the TV can be placed above a fireplace successfully.

Later, I'll post some examples of recent fireplaces I've built; I'm finishing up a fun, very contemporary one now in Chevy Chase, MD.

Closing, a poetic excerpt from Bachelard's book:

It is the muted voice of the dying winter embers
Which enchants this heart of mine,
This heart which like the covered flame
Sings as it is consumed.
- Paul-Jean Toulet

pattern #202 - built-in seats

 

Christopher Alexander is one of the great builders in the world today.  Almost single-handedly he has taken on the task of identifying, chronicling, and presenting a vast wealth of information in a life-long effort to help people change their built environments for the better.  His approach is at once scientific and intuitive.  His writing ought to be required reading in an age when our buildings so often lack harmony, quality, and humble inspiration.

From the 1977 book A Pattern Language, Alexander et al propose a series of patterns from which an architecture of home and community can be constructed.  We implement a process of design rooted in the arrangement of patterns that bring joy and satisfaction to our clients.  In this project, Alexander's pattern #202 - Built-in Seats was a good solution to a previously-existing problem.

This home was built in a large development in the '90's.  Its spaces were poorly planned, a pattern in itself, though not a good one.  While remodeling the kitchen, we kept turning our attention to and odd little space that was begging for attention.  It was positioned between a door to a screened porch and the kitchen.  Opposite was a door to the laundry area which is on the path to the garage.  It was a busy little intersection of coming and going.

Lori, the owner, had placed the family's breakfast table here, but as a free-standing object it lacked a firm root or anchor amidst the ebb and flow of people throughout the day.  The windows in the space had relatively high sills, and brought in some very nice light though the view wasn't exceptional.  This was a perfect opportunity to use the pattern of Built-in Seating.

Alexander writes: "It is natural to put the built-in seat into an unobtrusive corner - this is where it melts easily onto the structure and the wall.  But, as a result, it is often out of the way.  If you want to build a seat, ask yourself where you would place a sofa or armchair - and build the seat there, not tucked into some hopeless corner..  Built-in seats often place you so that you're facing away from the view or away from the the other people in the room.  Place the seat so that a person sitting down is looking at something interesting."

Using, too, Alexander's suggestions for shaping and dimensioning the built-in seating, we mocked up a seat on site using some cardboard and documented our results.  From this, we developed a design for a curved built-in seat that would work well with Lori's existing table and chairs.

We fabricated the built-in seating with a sloped back and attachment points for custom cushions.  Our upholsterer fitted the leather cushions onto bases that we provided.  The seat was designed to be wall-mounted and fully independent from the floor so that it would remain easy to clean under and not interfere with an existing floor supply register.

The result was fun to build and turned out to be the perfect solution to a problem area.  The space that felt odd and under-utilized is now the focal point that it had, naturally, always wanted to be.

 

Coffered Ceiling for Comfort

In our first meeting, a client expressed to me that her "kitchen never felt quite right."  Her home was built in 1990 by a large developer and had poor proportions throughout the first floor.  Especially lacking were fine details in the kitchen, which the owners used most frequently.  Being the most important room in their home, they certainly deserved a better solution.

When presented with a problem such as "this doesn't feel quite right", we often find ourselves on a mission of "site repair."  That is, we seek ways to resolve poorly planned, poorly detailed, or poorly constructed elements in a manner that adds the most value for a client's needs and budget. 

After exploring a number of design options, we chose to expand the kitchen by just 3 feet, with a large cantilevered box-bay bump-out.  Because of budget and design considerations, it didn't make sense to add more space than the 3' we really needed; and in this case, 3' would make all the difference in the world while also sparing the unnecessary and additional expense of basement remodeling.  Our engineer sized a 17' steel beam and designed other structural modifications that would resolve all affected load paths.  Then we finished our design drawings, got our permits, and set to work removing the kitchen and a large portion of its exterior wall.

A highlight of the final design was the coffered ceiling we implemented to add detail, differentiate the kitchen space, create a brighter interior, and add elegance that was lacking.  Rather than work out all the exact proportions of things like a coffered ceiling prior to construction, we prefer full-scale site mock-ups.  In this manner, we can fully see and consider all the intricacies and ancillary concerns - and believe me, there's always something you'll miss if you try to resolve this 100% in a set of architectural plans - spending unnecessary design dollars on something that can be done better and more efficiently on site.

We believe, often times, that getting the final proportions, construction materials, dimensions, lighting, and trim detailing just right is a perfect job for an experienced old-school builder - and does not necessarily have to involve an additional designer or architect.  Skilled in design and construction, we fully understand all the issues to consider, know how to bring it all together, and are always pleased to spare our clients unnecessary expense and hassle.

If you have a space that needs fundamental repair or re-configuration, call us.  We'd love to help analyze the problem and can deliver a great solution for your needs and budget.

Entry Path

My neighbors, Hetty and Brian, live in a classic little Sears-style bungalow dating from the 1920's.  They are models of sustainable living having, among other things, converted unused driveway space into a south-facing sustenance garden, driving a car that runs on vegetable oil, and heating their home with a corn stove.

Hetty and Brian have wanted a new walkway to their home for several years now.  After removing the old, crumbling walk, they repaired their front porch and stairs setting the stage for a new procession into their home.  The task, now, was to create a pleasing new walkway into their home.

Materials: They decided the new walk would be made of hand-made brick salvaged from various parts of their property.  After considering several options, we came up the final scheme shown here based on criteria generated from the site itself.

 

walkway layout

Path: Proceeding from the sidewalk toward the home, one sees that the walk is a simple, straight, 4' wide pathway that widens slightly to meet the full width of the base of the stairs that lead to the front porch.  Walks like this are very common, but often poorly detailed or ill-considered.  To prevent that here, we relied upon other successful patterns found elsewhere in our area.

Edge:  The edge of any walkway needs a border for proper definition.  Here we decided that laying bricks as sailors around the perimeter made the most pleasing pattern, and also created an interior field width that would work well with several options of field patterns yielding us some built-in flexibility.

Interior field: We deliberated and mocked-up herringbone, stacked bond, running bond, and basket weave patterns for the interior field.  Leaning toward the herringbone pattern, we set those aside for contemplation and consideration, then turned our attention to the landing area at the base of the stairs.

Transition:  The landing area is, essentially, a transition space.  Here, the walk changes shape as a response to requirements presented by the stairs and the change in width.  Other similar situations could involve a change in direction or elevation, but for design purposes consider that the basic design problem remains the same; that is, one of transition.  Here, we tried various options that included simply running the edge pattern along the perimeter as we had done in the main approach and a couple other scenarios.  We rejected all of them because they created odd cuts and geometric shapes that didn't resolve well.  Taking a step back and studying the geometry of the landing space and the main walk, we considered what we would do if the walk did change direction or elevation.  Only then did it become obvious that a semi-circular sailor arch would maintain the same edge pattern rules we had already implemented, and also create a desireable boundary between the landing and the main approach; this became the transition.

Terminus: Within the area formed by the arch, we realized that the herringbone pattern didn't work well - it was too much cutting, and would leave us with funky or small brick pieces that would not feel right.  After trying the herringbone, running bond, stacked bond, and beasket weave patterns again, we decided that a running bond pattern laid parallel with the stair direction filled the landing field well, was pleasing, and could be made with efficient cuts.  Furthermore, it defined the landing space as being different from the approach and complemented the semicircular sailor arch.

The result is that the new walkway has a natural appeal that is very satisfying and pleasing.  When completed, it will look as if it were always there - built originally with the home itself.  This type of reflection is often a good final test.  While it seems a subjective matter, I think it's much more than that.  The reality, of course, is that the design was firmly rooted in a natural selection of materials, well-established local patterns, considered response to existing elements, and sound, fundamental implementation of simple decisions.  These, in my opinion, were objective decisions leading to a final design solution.

You, too, can plan your walkway by considering and modifying the criteria above while taking into consideration your unique site and circumstances.  There are many good resources and patterns for almost every material - check with your local stone and masonry supplier for available materials and study your neighborhood or favorite garden, conservatory, or musuem for patterns that could be applied to your home.  Good luck!