A room for many

Whether it's two or three friends over for dinner or 20 for board games, we entertain frequently. We designed our home to support groups of many sizes. Much of what makes a room work for two also contributes to how well it functions for larger gatherings. In this post we want to focus on some of the things that are especially important in making a space work for entertaining.

Most spec homes have entries that are, at best, mediocre. The townhouse we rented while this house was under construction had a terribly entry. It was narrow, dark, and led you up stairs into the middle of the dining room. There was no coat closet. Even a moderate size group filled the entry with shoes and left coats scattered everywhere. People coming would collide with those going. It was a mess.

Entrance Room (130)

• Problem: Arriving in a building, or leaving it, you need a room to pass through, both inside the building and outside it. This is the entrance room.
• Therefore: At the main entrance to a building, make a light-filled room which marks the entrance and straddles the boundary between indoors and outdoors, covering some space outdoors and some space indoors. The outside part may be like an old-fashioned porch; the inside like a hall or sitting room.

The entrance room to our home is everything that was not. Outside we have a generous covered area where we will soon have a bench for setting parcels on. We don't have a window in the entry — this was one of the few times where we let style override substance — but we plan to install a video camera. The interior entrance room is large and has a bench, shoe cubbies, a full sized closet for hanging coats, and a storage console. Guests can hang their coat and take off their shoes while easing into the activities going on inside. There is room for those last bits of conversation that slow the departure of good friends.

Eating Atmosphere (182)

• Problem: When people eat together, they may actually be together in spirit — or they may be far apart. Some rooms invite people to eat leisurely and comfortably and feel together, while others force people to eat as quickly as possible so they can go somewhere else to relax.
• Therefore: Put a heavy table in the center of the eating space — large enough for the whole family or the group of people using it. Put a light over the table to create a pool of light over the group, and enclose the space with walls or with contrasting darkness. Make the space large enough so the chairs can be pulled back comfortably, and provide shelves and counters close at hand for things related to the meal.
• In our home: This pattern defines our dining room in all but one respect. We have a large, heavy table that can bring a group of people together. It has a pendant which defines the table as its own space. The counter is nearby for keeping things close at hand. Because we have an open floor plan with lots of windows, the space is not really enclosed by walls or darkness. Instead, we captured the essence of that contrast by making the table a comfortable, attractive place to continue conversation. (We have a mat for under the table on order; this should increase the contrast between the table and its surroundings and encourage more pulling back of the chairs.)

As mentioned in the previous post, the heart of our home is a single large space. The space is dominated by our dining table. To accommodate our varying needs, we commissioned a custom table that consists of two 5'x5' tables which we generally leave pushed together. We seat 12 comfortably (more when we don't mind getting a little cozy). When the tables are apart, we can fit 10 at each table. Apart, the tables are good for games, although a bit large to reach across. The 5'x10' default configuration of the table is surprisingly intimate. The table is wide enough to fit two people on each end, and the width allows greater visibility of those at the other end of the table. The distance is still large, but the wider table does help reduce fragmentation common to long, rectangular tables.

Sitting Circle (185)

• Problem: A group of chairs, a sofa and a chair, a pile of cushions -- these are the most obvious things in everybody's life -- and yet to make them work, so people become animated and alive in them, is a very subtle business. Most seating arrangements are sterile, people avoid them, nothing ever happens there. Others seem somehow to gather life around them, to concentrate and liberate energy. What is the difference between the two?
• Therefore: Place each sitting space in a position which is protected, not cut by paths or movement, roughly circular, made so that the room itself helps to suggest the circle -- not too strongly -- with paths and activities around it, so that people naturally gravitate toward the chairs when they get into the mood to sit. Place the chairs and cushions loosely in the circle, and have a few too many.

The table acts as a sitting circle when it's not being used for food or games, but the usual place for conversation is the living room. It opens to the main area on one side, but is enclosed by two outer walls and a staircase. Being ever-so-slightly separated allows the living room to act as a natural sitting circle. Couches, an arm chair, and the bench around the fireplace provide seating for about 8, and pulling in chairs from the dining room or utilizing the floor raises that number to 15. Even when the group is small, the space is compact enough to make conversation comfortable.

Large groups, like we have for our game days, naturally divide into smaller groups. We can support a couple groups at the two dining tables and another in the living room. Another crowd always gathers around the food on the kitchen island. Folks taking some time alone or talking in pairs can use the alcoves created by the fireplace bench. When the weather is nice, the deck increases the variety of spaces available for interacting with others.

Alcoves (179)

• Problem: No homogeneous room, of homogeneous height, can serve a group of people well. To give a group a chance to be together, as a group, a room must also give them the chance to be alone, in one's and two's in the same space.
• Therefore: Make small places at the edge of any common room, usually no more than 6 feet wide and 3 to 6 feet deep and possibly much smaller. These alcoves should be large enough for two people to sit, chat, or play and sometimes large enough to contain a desk or table.

Of course, not all is perfect. In a large, open space noise can be an issue. It can get painfully loud as voices gradually increase in volume to be heard over the general din. So far, the best solution we've found is occasionally reminding people to be more quiet (having some folks go to the up- or downstairs game space also helps). Most of the noise comes from people who are chatting between games, so from a volume perspective, having the spaces that attract conversation — the kitchen and living room — adjacent to the place where most of the games are played is less than ideal. To balance that, the adjacency allows people to easily drift in and out of games and allows more social mixing. Perhaps we'll find a better solution in time.

Overall, we've been quite happy with how the space performs. Despite its shortcomings, we can entertain here more easily, more comfortably, and on a larger scale than we could in any place we've lived before. All-in-all, success!

A room for two

The great room is the heart of our home. Since we entertain frequently, it must serve two purposes — purposes which are sometimes at odds with each other. This is the place we spend time together and the place where we welcome others into our home. Today, we'll focus on how we designed a perfect place to spend time together as a couple.

We wanted a space that would be comfortable, functional, and beautiful. We wanted a space where we would love to spend time. By honoring how we use space together and by using patterns from A Pattern Language, we were able to build a space that filled our needs.

The obvious pattern to start with is Common areas at the heart (129):

• Problem: No social group — whether a family, a work group, or a school group — can survive without constant informal contact among its members.
• Therefore: Create a single common area for every social group. Locate it at the center of gravity of all the spaces the group occupies, and in such a way that the paths which go in and out of the building lie tangent to it.

The heart of our house is the great room: a single large area consisting of the kitchen, dining room and living room. This open space allows easy interaction when Jeff and I are doing different activities and provides spaces for us to be together for cooking, eating, reading, crafting, or, well, whatever. Although we think of this space as a kitchen, living room, and dining room, the layout and the fact that over half the space is dedicated to the kitchen and dining room makes it essentially a Farmhouse Kitchen (139):

• Problem: The isolated kitchen, separate from the family and considered as an efficient, but unpleasant factory for food is a hangover from the days of servants; and from the more recent days when women willingly took over the servants' role.
• Therefore: Make the kitchen bigger than usual, big enough to include the "family room" space, and place it near the center of the commons, not so far back in the house as an ordinary kitchen. Make it large enough to hold a good big table and chairs, some soft and some hard, with counters and stove and sink around the edge of the room; and make it a bright and comfortable room.

Even though the great room is a single large space, it allows for intimacy. The L-shape allows each function to have its own well defined space. Such functional differentiation also lends itself to the generation of a Sequence of Sitting Spaces (142):

• Problem: Every corner of a building is a potential sitting space. But each sitting space has different needs for comfort and enclosure according to its position in the intimacy gradient.
• Therefore: Put in a sequence of graded sitting spaces throughout the building, varying according to their degree of enclosure. Enclose the most formal ones entirely, in rooms by themselves; put the least formal ones in corners of other rooms, without any kid of screen around them; and place the intermediate one with partial enclosure round them to keep them connected to some larger space, but also partly separate.

Each area has its own level of intimacy. The seating in the living room, which looks out over the whole space and is visible from the entry, is the most social and public but even with in that space, some seats — the one facing toward the outdoors, the end of the couch half hidden behind the fireplace — feel more private. These are the seats we gravitate to when it's just the two of us. The dining table is a bit more intimate; people sitting there are, by the arrangements of the seats around the table, more closely connected to each other than the rest of the space. Although we don't use them when it's just the two of us, sections of the bench around the fireplace are most intimate. These are the places you go to have a 1:1 conversation or to get some time alone.


We can't ignore the functional aspects in a space like this. Of course, we made sure that spaces like the kitchen are highly functional. We also included a fair amount of storage for our games and books and the projects we are working on. With laptops and phones and tablets, a office is not necessary as often as it use to be, but when it is, we have a space that is near enough to still feel connected to the life of the home. For when we do need a little more isolation, we built a Half-Private Office (152):

• Problem: What is the right balance between privacy and connection in office work?
• Therefore: Avoid closed off, separate, or private offices. Make every workroom, whether it is for a group of two or three people or for one person, half-open to the other workgroups and the world immediately beyond it. At the front, just inside the door, make a comfortable sitting space, with the actual workspace(s) away from the door, and further back.

Our office does not (yet!) have comfy seating, but it is connected to the rest of the home when we use it, by virtue of a large opening and a sliding glass door. For those times when we need a bit more privacy, it is a Solid Door With Glass (237):

• Problem: An opaque door makes sense in a vast house or palace, where every room is large enough to be a world unto itself; but in a small building, with small rooms, the opaque door is only very rarely useful.
• Therefore: As often as possible, build doors with glazing in them, so that the upper half at least, allows you to see through them. At the same time, build the doors solid enough, so that they give acoustic isolation and make a comfortable "thunk" when they are closed.

The space also works well because it connects us to the outdoors. This is helped by windows with Low Sills (222):

• Problem: One of a window's most important functions is to put you in touch with the outdoors. If the sill is too high, it cuts you off.
• Therefore: When determining exact location of windows also decide which windows should have low sills. On the first floor, make the sills of the windows which you plan to sit by between 12 and 14 inches high. On upper stories, make them higher, around 20 inches.

Although our window sills are not as low as Alexander recommends, they are low enough that the sill is just above the seat of our couch. This means that whenever we glance aside, we are connected to the outdoors.

Of course, some of these are Windows Which Open Wide (236):

• Problem: Many buildings nowadays have no opening windows at all; and many of the opening windows that people do build, don't do the job that opening windows ought to do.
• Therefore: Decide which of the windows will be opening windows. Pick those which are easy to get to, and choose the ones which open onto flowers you want to smell, paths where you might want to talk, and natural breezes. Then put in side-hung casements that open outward. Here and there, go all the way and build full French windows.

The connection to the outdoors is even more direct when we use our deck as an Outdoor Room (163):

• Problem: A garden is the place for lying in the grass, swinging, croquet, growing flowers, throwing a ball for the dog. But there is another way of being outdoors: and its needs are not met by the garden at all.
• Therefore: Build a place outdoors which has so much enclosure round it, that it takes on the feeling of a room, even though it is open to the sky. To do this, define it at the corners with columns, perhaps roof it partially with a trellis or a sliding canvas roof, and create 'walls" around it, with fences, sitting walls, screens, hedges, or the exterior walls of the building itself.

Our deck is just such an outdoor room. Enclosed by the building and a rail, it is a pleasant place for sitting and relaxing, reading, or cooking and eating a meal. Of course, it wouldn't work so well if the details weren't right, so we made sure to have a Six-foot Balcony (167):

• Problem: Balconies and porches which are less than six feed deep are hardly ever used.
• Therefore: Whenever you build a balcony, a porch, a gallery, or a terrace always make it at least six feet deep. If possible, recess at least a part of it into the building so that it is not cantilevered out and separated from the building by a simple line, and enclose it partially.

At 10' x 12', our deck is about the same size as our living room, and we have just enough furniture to make it really work as an outdoor space.


All of this together leads to a space where Jeff and I can do things together or do things separately while still being together. We have privacy when we need it and companionship when that is what we want. By being sensitive to how we use our space and by taking advice from A Pattern Language we were able to design a space that works well for two people. As the next post will show, it works just as well for ten or twenty.

Media Room

A dedicated media room is an unusual feature for a house, especially one of this size. But we felt it was worth it, and designed the room to have the right balance of cost and features.

Why a media room? Because it's awesome! The home theater experience is amazing, and a popular feature of our house. But, at a deeper level, why did we choose to put the extra cost, design work, and square footage into it? The first reason, and the obvious one, is that we've have viewed dedicated media rooms with envy for awhile. We do a lot of entertaining, including watching shows and movies and playing group video games. Having a separate space dedicated to this activity gives a superior experience, while leaving the main living room free for entertaining more people.

Patterns
You might think there would be a number of patterns to use for this kind of design. However, A Pattern Language was written before televisions were present in every living room. Instead, we worked based off general ideas from patterns and our observations of social gatherings.

The second and stronger reason for adding this room was space usage: we did not want a television in the living room. We wanted the living room to be a social space, where people could gather and socialize. A circular set-up is best for this, as it easily allows everyone to focus on other people in the room. The focal point is towards the center of the room so that everyone feels included. This makes it difficult to fit a television into the room. It isn't reasonable to provide a single focal point on the wall that all the seats can use. This is made even more difficult by the design of our living room, which has no normal walls at all. Two of them are full of windows to allow in lots of light. One of them is covered with a bookcase backed by the stairs. The last boundary of the room is the open space to the rest of the main floor. The media room gave us the opportunity to divorce the singularly-focused activity of television out of the social space of the living room.

Room Layout

Decision number one was the size and shape of the room. We wanted a couple rows of seating focused on a screen against one wall. We wanted enough space (if chairs were removed) to play Kinect games such as Dance Central and music games such as Rock Band. A rectangle of ratio 3:4 or 3:5 would be best for these functions. The ideal size for us would've been about 15 feet wide, and 20-25 feet long. With the realities of the land and form of the house, we were able to fit in a 12-by-19 foot room downstairs on the north side of the house. This was a bit tight, but fit very well into the layout.

The short wall on the east side was under the house and partially dug into the ground, so that was the perfect wall to put the screen on. The opposite wall on the west side could then fit a row of seating. The door was in the middle of the long south wall, which put it right where the second row of seating would go, giving easy access to both rows. To make the two rows of seating useful, we built up a stage against the west wall so the first row of seating against the wall would be elevated above the second row.

The other main item to figure out was an equipment closet. The various equipment for powering the speakers, routing the sound and video, and the players for games and other media needed to be accessible (for changing discs), but covered up (to prevent light and sound from the equipment leaking into the main room). We also wanted to use this space for other computer equipment: a server for file storage and internal services, central networking, and a wireless access point. It ended up being most convenient to put this on the east side of the south wall, taking space out from the storage/bathroom next door.

Details & Finishes

Lighting

For lighting we didn't want anything that would intrude into the wall and disrupt the sound isolation. We added sconces on the wall for general lighting. Then we added two sets of track lights to light different portions of the room: one for the rear seating (which could be used without interfering too much with the screen); and a second one near the equipment closet to provide task lighting when dealing with anything in that location. To control the equipment lighting, we recessed a switch near the closet and away from the door. By the door, we added switches for the sconces and rear track lighting, as those are the general lights for the room. We also added dimmers to those two switches to give us more control over exactly how much light is in the room. Eventually we would like to hook the lighting up to an automation system so that it can be controlled from our universal remote that controls all the equipment. This would allow us to do things such as automatically dimming or turning off the lights when hitting Play for a movie; and then bringing them back up when hitting Pause. That is a fairly easy addition later, so it is relegated to the list of long-term improvements.

Seating Stage

The stage for the second row of seating was framed up against the west wall. The dimensions were very specific. We wanted to make sure it would be deep enough to comfortably fit a couch with enough leg room/walk-way to make people feel comfortable. But we also needed enough space on the floor for the first row of seating to not be too close to the screen. We also didn't want the stage to extend into the doorway, as that would complicate the entry. We decided 7 feet of depth would satisfy the requirements, ending shortly before the doorway. To decide the height, we used some calculations based on the size and position of the screen, and the position of the seating to determine that 8-12 inches would be the minimum needed to give everyone a clear view. Since we had the room height, we bumped this up to 16 inches high to give a comfortable clearance. This also divided nicely to give a single 8-inch step to reach the platform. We spent a while discussing if the step should run the whole length of the platform or not, and whether we would need a railing. It was determined that we didn't need a railing, and a 3-foot wide step right by the doorway would be enough to get up, and the rest would be flat to give more leg room and walkway.

Soundproofing

Soundproofing was covered more extensively in a previous blog post. So far, we have not had a problem with sound leakage from downstairs as long as the door is properly closed. We have found that it works the other way, too — we can't hear the doorbell if someone arrives while we are downstairs. That is another addition to the home automation list, so that we can have our cell phones notify us when the doorbell rings.

Closet

An area on the east edge of the south wall, next to the door, had been framed out for a closet. We then spent a while designing the enclosure for it to properly support everything we wanted it to handle. Part of it needed to be enclosed to isolate the lights and sound from the equipment. However, we also wanted part of it open to make the basic remote controls, lights, and media more accessible. The enclosed area would have all the internal wiring for the media room, plus the whole house network panel. Because of all the equipment that would be connected to these, we wanted to ensure there was enough cooling in the tight space.

The end result was that about two-thirds of the space was enclosed, while the remaining one-third nearer the door was left open. The enclosed space had two hinged closet doors, set about 6 inches from the floor. This allowed a vent to be placed at the bottom to draw in fresh air. We used freestanding shelves from Elfa to avoid drilling into the sound-isolated walls. The bottom shelf on these also started about 6 inches from the floor, ending up level with the bottom of the closet doors. Within the closet we just used plain shelves and various heights to hold different sizes of equipment. In the space next to the enclosed area, we mixed a couple shelves with several draws for holding game controllers and other small items.

Part-way through construction we realized there was an air-flow problem with the room. It was designed with a heat-pump unit that would control the temperature of the room. However, that would not provide any fresh air. With a tightly-insulated room and a weather-sealed door, practically no air would be able to circulate into and out of the room. Once you put 10-12 people in there and close the door, the air would be become stale surprisingly quickly. We only realized this well after framing was completed, and most of the the rough-in was finished. The solution was to use the HRV, which already required a pair of vents on each floor to circulate fresh air. On the lower floor they had been located in the future bathroom and main landing area. However, they were right next to the media room, and we were able to move both the supply and return vents into the media room. We had them both moved into the ceiling of the closet; but the supply was in the open area (providing fresh air to the whole room), while the return was in the enclosed area, drawing air from the vent at the bottom, up past the equipment, and then out. This coincided nicely to provide a free cooling solution for the equipment closet without extra noise.

Paint & Carpet

To help with light control, we wanted dark colors in the media room. The walls did not need to be a solid black, though, which might have made the room a bit too depressing. The most obvious choice was to use the dark red color from our palette. It would've looked sophisticated and echoed the tradition of dark red velvet curtains in theaters. We also had a dark teal in our palette, though. Combined with a black carpet, it would provide a more modern, striking color scheme to the room without feeling too suffocating despite all the dark color. Applied in a matte finish to diminish reflected light, it was a wonderful result that has received many compliments.

We decided to use Karastan SmartStrand carpets throughout the house, which included the media room. These are eco-friendly carpets made from corn instead of petroleum. But we chose them because they were also the most comfortable of the carpets we looked at, and some of the most stain-resistant. They were easily the nicest carpets we looked at for the price. Their Indescribable line of SmartStrand Silk carpets had the Black Velvet color, which was exactly what we were looking for, giving us the color combination we had originally conceived.

Equipment

Electrical and sound wiring was discussed in detail previously. The only wiring we had to run ourselves was pulling an HDMI cable through the conduit to the projector. Long high-speed HDMI cables are not common, but we lucked out because Monoprice released a new slim, powered HDMI cable shortly before we needed it. This was more flexible than standard cables, making it not too difficult to pull through the conduit.

Choosing a projector ended up being a lot of research and reading. In the end I decided on the Panasonic PT-AE7000U. It was rated as one of the best projectors for color, black levels, sharpness, etc. The closest competitor was the Epson PowerLite 5010, which had longer lag times, making it worse for video games.

The ceiling mount for the projector was a bit easier. Chief was a well-rated brand for ceiling mounts, so I first acquired a simple plate that was mounted onto a block that was fixed between studs in the ceiling, giving it a secure base. A short post was then attached to the plate, and the drywall was installed around it, hiding the plate. Then the primary mount attached to the post in the ceiling, and the projector. It has adjustments to help align the projector; and a quick disconnect when I need to take the projector down to replace the bulb. Getting the projector attached to the ceiling took two people, but it worked! Almost. The distance from the projector to the screen hadn't been calculated quite perfectly, and the projector didn't have quite enough distance to fully fill the screen. It was only off by a little bit, though, so a shift bracket was added to slide the projector back a few inches, filling the screen just perfectly.

There are a lot of options for home theater screens. The first thing I knew was that I wanted a fixed-frame screen. This kind is assembled once, and then fixed to the wall permanently. It does not retract or move, but usually is a flatter, more even canvas. A nice, thick frame covered in black velvet (or similar material) provides good focus on the screen, absorbing any light that might stray off the screen. A widescreen 16:9 format is standard for most content now, though many movies are still in a 2.35:1 format. We watch more than just movies, so we chose the 16:9 format as the primary size of the screen. At this aspect ratio, a 106-inch screen was about the largest that the room could reasonably support. While there are many companies that provide such screens in a wide range of prices, Monoprice recently introduced a low-priced series of projector screens that are quite high quality. In addition to the items listed, they also offered multi-format screens, which are primarily a 16:9 screen; but have a manual mask of black velvet that slides in from the top and bottom to perfectly frame the screen at a 2.35:1 aspect ratio for movies.

Years ago I had discovered SalkSound, a small speaker manufacturer that sells direct to consumers. They provide very high-quality custom speakers at a reasonable price. At the time, I had ordered a pair of SongTowers with upgraded ribbon tweeters, and a matching SongCenter. We decided they shouldn't stand out too much, and got a simple black satin finish with aluminum baffles on the towers. We had enjoyed these for a number of years in our previous home. With the dedicated media room here, it was time to round this set out into a full 5.1 system. A pair of SongSurrounds was ordered for the rear speakers, and a 12" Salk/Rythmic subwoofer was added to complete the set, all in matching black satin.

Most of the remaining equipment we already owned: a Pioneer receiver paired with a 7-channel Emotiva amplifier. We had three gaming consoles: a Nintendo Wii, Sony PlayStation 2, and a Microsoft XBox 360 slim. A Sony PlayStation 3 was added primarily for Blu-Ray and streaming video support. For music throughout the house, we acquired several Sonos components, and the media room received a Sonos CONNECT to play music through the Salk speakers.

The last bit of equipment was the universal remote. After having a Harmony remote that stopped working several years ago, we switched to a URC MX-450, which feels much higher quality and is programmable without any additional software. When we moved all our equipment into the closet in the media room and out of IR range, we were easily able to add an RF base station that was compatible with our existing remote. This receives radio signals from the remote, then translates them into IR signals that are sent to a specific piece of equipment, allowing complete control even when the equipment is hidden away. The only complication was the PlayStation 3, which is only controllable via Bluetooth — IR is not available. An IR adapter was acquired, resulting in the remote sending an RF signal to the base station, which translates it into an IR signal sent to the adapter, which then sends commands to the PS3 over Bluetooth!


After all this time and money spent on layout, design, details, and equipment, the end result is amazing. The media room never fails to impress, and is a wonderful room for enjoying electronic entertainment. We use it regularly with and without friends, and the focus of the room really shines through. It may not be a worthwhile room for everyone, but it was a great decision for us.

Closets and Storage

Closets are boring, but storage is important.

Bulk Storage (145)

• Problem: In houses and workplaces there is always some need for bulk storage space; a place for things like suitcases, old furniture, old files, boxes—all those things which you are not ready to throw away, and yet not using everyday.
• Therefore: Do not leave bulk storage till last or forget it. Include a volume for bulk storage in the building—its floor area at least 15 to 20 per cent of the whole building area—not less. Place this storage somewhere in the building where it costs less than other rooms—because, of course, it doesn't need a finish.
• In our home: In addition to the closets described, we have some areas for bulk storage. The lower floor has an unfinished bathroom that can be used for storage. The ground level at the back door is a bare concrete floor that has little use besides storage. We also have a very large crawlspace under the house that can be used for bulk storage of items that don't need to be temperature-controlled.

The majority of our closets and storage shelving use the Elfa system from The Container Store. It is flexible, modular, and reasonably priced. We designed a fairly comprehensive storage solution, but it is easy to add on more functionality as desired.

Let's examine our storage shelving with a room by room tour. This won't cover all of the storage. There are other types of storage such as built-in bookshelves, kitchen and bathroom cabinets, and garage storage. These will be addressed in more detail elsewhere.

The secondary bedrooms were the easiest. They each have a small closet and are currently unoccupied. In each closet, we added a hanging bar and shelf across the top, and then mid-way down, another hanging bar and shelf across half of the closet. Simple but functional.


In the laundry room, we added quite a bit of shelving to accommodate crafts, utility storage, and drying clothes. The original design had shelves above the washer and dryer, but after those were installed, we realized reaching above them would be difficult. It didn't help that the dryer vent pipe added an awkward bulge in the wall. Because the Elfa system is modular, we reconfigured things at install time and moved two of the tall wall supports between the door and the washing machine. The other side of the room has utility drawers and a craft desk for using a sewing machine or spreading out crafts on. We're also finding the desk useful for folding clothes.

The master dressing room has a corner full of shelves and hanging for our clothes. We have around 6 feet of short hang for each of us, and another 2-3 feet of long hang each. This satisfies the amount of storage space specified in the Dressing Rooms pattern. We added a couple short wire drawers for smaller clothes like socks, and some deeper wire drawers for folded items like t-shirts. One nice accessory was a set of belt hooks that attaches to the end of shelf, and has space to hang several items. We decided to go for open shelving here instead of a closed closet or wardrobe, and the platinum shelving plus walnut-look trim gives a bit of elegance to the design.

The media room uses the freestanding shelving from Elfa to avoid interfering with the sound isolation channel in the wall. The closet uses plain wire shelving to help with ventilation. It is fairly deep to accommodate the large media equipment. The open nook next to the closet is for more frequently accessed items like controllers, batteries, and video games. The shelves and drawers use wire shelving with walnut trim.

We also used Elfa in the pantry. The long wall has a series of shelves, starting at 20" deep at the bottom, going to 16" deep in the middle, and 12" deep on top. This provides easy access even to items that get pushed to the back. The short wall has a few more shelves, along with some drawers for items such as produce that may not sit so nicely on shelves.

We're quite happy with the system. We have a lot of storage space in the house, it is functional, and looks nice.

Master Suite

Our master suite has an unusual design. You enter into a dressing room that combines clothes storage with sitting space and space for getting dressed. The bathroom is on one side of the dressing room. The bedroom is on the opposite side and is sized just right to fit a bed. There is no walk-in closet or access directly to the bed or sitting and writing space next to the bed. Nor is the bathroom directly connected to the bedroom. Deliberate considerations informed these choices, as explained by these three patterns.

A Room of One's Own (141)

• Problem: No one can be close to others, without also having frequent opportunities to be alone.
• Therefore: Give each member of the family a room of his own, especially adults. A minimum room of one's own is an alcove with desk, shelves, and curtain. The maximum is a cottage. In all cases, especially the adult ones, place these rooms at the far ends of the intimacy gradient, far from the common rooms.
• In our home: The master suite is the private place for us. It is distinctly separate from the kids' bedrooms. It is also at the far end of the intimacy gradient, well away from the common areas. An important part of this is that the master suite is more than just bed, bath, and closet. The dressing room is also a sitting room. We will have a couple of comfortable chairs and a small table. It will be a cozy space we can retire to individually or together.

Bed Alcove (188)

• Problem: Bedrooms make no sense.
• Therefore: Don't put single beds in empty rooms called bedrooms, but instead but individual bed alcoves off rooms with other non-sleeping functions, so the bed itself becomes a tiny private haven.
• In our home: While not strictly an alcove, our bedroom was inspired by this pattern. The bedroom portion of the master suite is just a bed with a pair of nightstands. It has no closets, chairs, or desks. There are two reasons it is a room instead of merely an alcove. The first is for privacy and isolation. A full room allows the bed to be separated from the dressing room, so mismatched patterns of sleeping and getting ready won't disturb the person sleeping. Secondly, a larger bed meant for two is awkward to access from only one side. A room allows a pathway and nightstand on both sides of the bed for convenience.

Dressing Rooms (189)

• Problem: Dressing and undressing, storing clothes, having clothes lying around, have no reason to be part of any larger complex of activities. Indeed they disturb other activities: they are so self-contained that they themselves need concentrated space which has no other functions.
• Therefore: Give everyone a dressing room — either private or shared — between their bed and the bathing room. Make this dressing room big enough so there is an open area in it at least six feet in diameter; about six linear feet of clothes hanging space; and another six feet of open shelves; two or three drawers; and a mirror.
• In our home: The solution to this pattern is the most prescriptive of the three. It is also the one that we followed most closely. Our dressing room has a comfortably-sized open area in the center that allows easy movement. The southeast corner has two walls full of clothes storage: hanging space, shelves, and drawers. Under the windows, we have a dresser to provide more drawers. On the west wall, we will have a full-length mirror.

These patterns describe the major points of philosophy behind our master suite design. They guided us to a layout that is uncommon but surprisingly natural at the same time. We have already received many comments along the lines of “Oh! That is a good idea.” when showing off the master suite. We hope it will prove to be as convenient as the design suggests.

Shaping rooms

Before we dive into the design of specific rooms, we have one last post on the general layout of the house.

The Shape of Indoor Space (191)

• Problem: The perfectly crystalline squares and rectangles of ultramodern architecture make no special sense in human or in structural terms. They only express the rigid desires and fantasies which people have when they get too preoccupied with systems and the means of their production.
• Therefore: With occasional exceptions, make each indoor space or each position of a space, a rough rectangle, with roughly straight walls, near right angles in the corners, and a roughly symmetrical vault over each room.

• 

  Room shapes on the main floor

  In our home: This pattern took us awhile to understand. The authors start by implying rectangles are bad and end by saying rooms should be roughly rectangular! The key to understanding this pattern lies in the discussion between the Problem and the Therefore.
  
  This pattern is all about making rooms feel comfortable. What shape should a room have? The room should be convex. Concave corners feel awkward unless they define a separate space such as an alcove. The room should pack well with other rooms. Unless it's an exterior room, this almost always means that the corners will be roughly 90 degrees. These two constraints lead to roughly rectangular rooms.
  
  

  

  Room shapes upstairs

  But why the hate for crystalline squares and rectangles? Rooms should be rough rectangles, but they don't have to be exact. They don't have to follow strict proportions (e.g., square, golden ratio) or relate in such a way that a perfect grid could be laid over the floor plan. The rooms should dictate their shapes, not some imposed ideal.
  
  Our home is made up of rough rectangles, freely arranged and mostly free from non-alcove-defining concave borders. Rooms were sized and placed based on their functionality, not according to any system.

Corner Doors (196)

• Problem: The success of a room depends to a great extent on the position of the doors. If the doors create a pattern of movement which destroys the places in the room, the room will never allow people to be comfortable.
• Therefore: Except in very large rooms, a door only rarely makes sense in the middle of a wall. It does in an entrance room, for instance, because this room gets its character essentially from the door, but in most rooms, especially small ones, put the doors as near the corners of the room as possible. If the room has two doors, and people move through it, keep both doors at one end of the room.
• In our home: We don't have a lot of doors in our home, but their placement in the room generally makes sense functionally — mostly in corners and, when not, placed in a way that makes sense for the individual rooms. Instead of highlighting all of our doors — you should be able to find them yourself from the floor plan (main, upper) — we want to focus on a particular room where, guided by this pattern, we moved a door to make the room much more effective.
  
  Our dressing room is fairly small space (roughly 10' x 12') that has three doors. Placing the doors without creating dead, unusable spaces proved to be something of a challenge. The architect had originally placed the doors as pictured below on the left. This turned most of the south wall (the lower wall, in this image) into a pathway and made the south east corner difficult to use. We ended up losing about half the room to pathways.
  
  After framing (but, thankfully, before much else was in), we realized how awkward this would be. We modeled the room in Sketchup and tried different door placements. It quickly became clear that the placement in the image on the right is much more usable. The path still divides the room — this is inescapable given the placement of the rooms, but it divides the room into two areas large enough to be useful. The area in the lower right, which is along interior walls, will be our dressing corner (the large brown boxes are shelving). The area in the upper left, which is near the windows, will be a sitting area. There is a bit of an awkward corner in the upper right, but it fits my dresser perfectly.
  
  As this example illustrates, the door placement can make a huge difference in the usability of a room.
  

Dressing room doors, before

Dressing room doors, after

Interior flow

The high level zones of our home were largely determined by our desire to have common areas at the heart. The intimacy gradient and treatment of natural light as well as the general constraints of the site helped determine the more detailed layout.

But the success of a layout turns on how rooms are connected to each other. Today's post will explore how we approached movement through our home.

The Flow Through Rooms (131)

• Problem: The movement between rooms is as important as the rooms themselves; and its arrangement has as much effect on social interaction in the rooms, as the interiors of the rooms.
• Therefore: As far as possible, avoid the use of corridors and passages. Instead, use public rooms and common rooms as rooms for movement and for gathering. To do this, place the common rooms to form a chain, or loop, so that it becomes possible to walk from room to room — and so that private rooms open directly off these public rooms. In every case, give this indoor circulation from room to room a feeling of great generosity, passing in a wide and ample loop around the house, with view of fires and great windows.
• In our home: The purpose of this pattern is to enhance social interaction. As the pattern describes it,

  The possibility of small momentary conversations, gestures, kindnesses, explanations which clear up misunderstandings, jokes and stories is the lifeblood of a human group. If it gets prevented, the group will fall apart as people's individual relationships go gradually downhill.

  To encourage this sort of casual bonding, circulation areas should be used to help connect people to each other in the public parts of the home. Even private areas should not be fully separate from the flow of people.
  
  In our home, the main public areas are on the main floor. Although the bedrooms upstairs and the media room downstairs are fairly isolated from the main floor, both floors are situated to encourage passing through the main floor. The floors are connected by a single open staircase, so moving from one region to another provides social connection.
  
  The image below highlights the circulation pathways on the main floor. They are adjacent to living areas without going through those areas. One particularly interesting — and unintentional — detail is the relationship of the main entry to the stairs. People cannot go from the main entry to the private bedrooms upstairs without making some contact with the common area, but the pathways are generous and tangent enough that that interaction can be as brief or lingering as desired.

Short Passages (132)

• Problem: “... long, sterile corridors set the scene for everything bad about modern architecture.”
• Therefore: Keep passages short. Make them as much like rooms as possible with carpets or wood on the floor, furniture, bookshelves, beautiful windows. Make them generous in shape, and always give them plenty of light; the best corridors and passages of all are those which have windows along an entire wall.
• In our home: We only have passages in two places: the stairway itself and the upstairs landing. The stairway is fairly long, but the u-shaped path and the open design make the space feel more compact. It has some of the best windows in the house, and we intend to add window seats on the landings.
  
  The upstairs landing has more difficulties. To its benefit, it shares the windows from the stairs, is fairly short and generously sized. To its detriment, it has an opening on each of the four sides, making it harder to treat as a room. We should be able to fit some furnishings in the southwest corner of the landing, but that will be made somewhat harder because the door to the south bedrooms is a sliding door mounted on the wall.
  
  In both of these cases, we have passages with potential, but they'll require care to really become spaces that contribute to the feel of our home rather than detracting from it.

Setsuzokuya is meant to be a home which connects people. By centering the house around a common heart, we hope to achieve that ideal.

Building Envelope: Ceilings and Roofs

In this post, we'll explore how patterns influenced our building envelope, focusing primarily on ceilings and the roof. (As before, problem descriptions and solutions — the first two bullet points of each section — are from A Pattern Language.)

Sheltering roof (117):

• Problem: The roof plays a primal role in our lives. The most primitive buildings are nothing but a roof. If the roof is hidden, if its presence cannot be felt around the building or if it cannot be used, then people will lack a fundamental sense of shelter.
• Therefore: Slope the roof or make a vault of it, make its entire surface visible, and bring the eaves of the roof down low, as low as 6'0" or 6'6" at places like the entrance, where people pause. Build the top story of each wing right into the roof, so that the roof does not only cover it, but actually surrounds it.
• In our home: It would be an understatement to say that modern-styling does not lend themselves to this pattern. So we asked ourselves, "What is the essence of this pattern?"
  
  Patterns of Home, a modernized look at some of the home oriented patterns in A Pattern Language, gives a clue. The roof should, above all, provide a sense of shelter. It should provide a sense of connection between the inside and the outside. A Pattern Language focuses on achieving this via living space within the roof, but another way to achieve this is to have the same roof surface expressed inside and out.
  
  Our home has two roof lines — the top and a midline. Both are true roof surfaces in that they cover interior space that is not covered by the other. Both roof lines are expressed inside and outside the house. The lower roof line defines both an exterior midline and the maximum ceiling height on the main floor. The butterfly shape of the upper roof is also expressed inside; most of the rooms upstairs have a slanted roof that continues the external expression of the butterfly roof.
  
  Equally important is the sense of indoor/outdoor transition that our roof gives at two key locations, both shown below. The picture on the lower left shows how the roof itself provides protection over our upstairs deck. The picture on the lower right shows the same sense of protection over the main entry (and as the top picture shows, the sense of that protection being part of the roof is even greater now that the roof trim has been installed).
  
  In retrospect, I would have tweaked the roof design a bit to give it a greater sense of shelter, even within the confines of a butterfly roof. The mid-line roof does not shelter the main floor deck as effectively as it does the entry, and it does not continue on the north side or fully around the west side. Not continuing the middle roof line all the way around weakened the sense of the roof really being part of the home. However, from the east and south sides, we did pretty well considering the inherent limitations of the style we had settled on.

Ceiling height variety (190):

• Problem: A building in which the ceiling heights are all the same is virtually incapable of making people feel comfortable.
• Therefore: Vary the ceiling heights continuously throughout the building, especially between rooms which open into each other, so that the relative intimacy of different spaces can be felt. In particular, make ceilings high in rooms which are public or meant for large gatherings (10 to 12 feet), lower in rooms for smaller gatherings (7 to 9 feet), and very low in rooms or alcoves for one or two people (6 to 7 feet).
• In our home: I would say that we achieved the minimum viable amount of ceiling height variety needed to say that we have variety. Much to my sadness, we don't have any nooks or alcoves which take advantage of a lowered ceiling to make them feel cozier. However, we do do use ceiling height to provide social cues and, on occasion, to give a sense of grandeur.
  
  The main floor has 10' ceilings. This is high, but anything lower would feel low in this broad, open space. To keep this area from feeling cavernous and undifferentiated, we vary the ceiling height. The entry is raised above the main floor. This gives a sense of compression and expansion that emphasizes the height of the main living area. The area over the kitchen is soffited down to differentiate that space from the dining area adjacent to it (the diagram below shows the kitchen soffit, but that only goes part way across the ceiling). The living room has a support beam which provides a natural gateway separating that space.
  
  
  
  The bedrooms have a lower 8' ceiling height to match their more intimate scale. To give a sense of the roof from the inside, all of the bedrooms have a ceiling line which follows the butterfly roof. This, along with window placement, gives a feeling of opening the rooms to the view outside.
  
  
  
  The most dramatic use of ceiling height variety is in our stair tower. The stair tower stretches the whole height of the building, and the open tread stairs really allow you to get a sense of the height of the structure. The picture below, which shows the upper 1.5 stories of the stair tower, gives a feel for the sense of height it brings to our home.

The next post will cover openings in the building envelope for windows and doors.

Our pattern language: Zones

Once upon a time, we spoke of how we narrowed down the 253 patterns in A Pattern Language down to the ~70 that we felt were most relevant to our home. Today we want to go into more detail about those patterns, starting with the "big moves", those patterns that underlie our sense of place.

Our home begins with

House for a small family (76):

• Problem: In a house for a small family, it is the relationship between children and adults which is most critical.
• Therefore: Give the house three distinct parts: a realm for the parents, a realm for the children, and a common area. Conceive these three realms as roughly similar in size, with the commons the largest.^[1]

This overarching pattern leads naturally to three others: Common areas at the heart, Couple's realm, and Children's realm.

Common areas at the heart (129):

• Problem: No social group — whether a family, a work group, or a school group — can survive without constant informal contact among its members.
• Therefore: Create a single common area for every social group. Locate it at the center of gravity of all the spaces the group occupies, and in such a way that the paths which go in and out of the building lie tangent to it.
• In our home: Our open great room acts as the heart of our home. It lies tangent to the main entry (on the right, below) and, less directly, to the back entry (at the bottom of the stairs to the left). We have other shared spaces, but this one is truly the heart of the home.

Common areas at the heart of our main floor

Couple's realm (136):

• Problem: The presence of children in a family often destroys the closeness and the special privacy which a man and wife need together.^[2]
• Therefore: Make a special part of the house distinct from the common areas and all the children's rooms, where the man and woman of the house can be together in private. Give this place a quick path to the children's rooms, but, at all costs, make it a distinctly separate realm.
• In our home: The couple's realm is a distinct space from the rest of the home. It's more than just a bedroom — our realm is meant to be an area where we can comfortably spend time alone together. It is directly across the hall from the children's realm, making that realm distinct but accessible.

Couple's realm and Children's realm upstairs

Children's realm (137):

• Problem: If children do not have space to release a tremendous amount of energy when they need to, they will drive themselves and everybody else in the family up the wall.
• Therefore: Start by placing the small area which will belong entirely to the children — the cluster of their beds. Place it in a separate position toward the back of the house, and in such a way that a continuous play space can made from this cluster to the street, almost like a wide swath inside the house, muddy, toys strewn along the way, touching those family rooms which children need — the bathroom and the kitchen most of all — passing the common area along one side (but leaving quiet sitting areas and the couple's realm entirely separate and inviolate), reaching out to the street, either through its own door or through the entrace room, and ending in an outdoor room, connected to the street, and sheltered, and large enough so that the children can play in it when it rains, yet still be outdoors.
• In our home: This is a detailed pattern. We took what was most important to us. The children's realm is a distinctly separate space. It does have access to the outdoors without cutting through the common space (by the stairs and back door), but, since that path uses the common stair case, the access itself is only weakly part of the children's realm.

These patterns describe the defining zones of our home. In the next post, we'll look at some structures that define the physical layout of our home.

^[1] All of the patterns in have the form: context; problem statement; discussion; conclusion; related patterns. Our pattern posts will have just the problem statement and conclusion; we refer you to the book for the rest

^[2] Yes, this book, published in 1977, is full of heteronormative assumptions. Just try to ignore them.

Outdoor Spaces: The Garage

The garage will be primarily for vehicles and activities related to them. It could be used for other outdoor work/hobbies, but we currently don't have any.

The main house will have a single primary entrance for both residents and guests. The garage, however, needs two distinct entrances: one for people and one for cars. A garage door does not work for people — it is the wrong scale and feels awkward. That entrance operates mechanically, via a remote. This works from a vehicle, but feels slow and annoying to a pedestrian. To accommodate people, we will have a second, standard sized door. Ideally this will be connected to some kind of covered walkway that leads to the front door of the house. For most single family homes, where the garage is right next to the house, this would be a short gap of less than 10 feet; but in the Taltree development it will likely be longer.

The garage should have space for parking two cars. There should be enough space on all sides of the car to comfortably load/unload people and parcels. (Including the front — while most cars load people from the sides and parcels from the rear, some cars, such as Porsches, have storage space up front and the engine in the rear. Even more interesting, the Tesla Model S has all the hardware in the floor, so both front and rear are storage; and the rear includes two seats for children.) The garage floor should be level and smooth.

The interior should have good lighting. Light sources should include a mix of natural and artificial sources. Most garages are fairly dim; light makes them feel more comfortable and welcoming. It also improves safety and makes it easier to load and unload the car. We would like to have the lights on a timer and/or sensors, so they automatically come on when entering the garage and turn off once everyone has left.

We like to clean and detail our car(s), and being able to do this in the garage would be delightful. It would allow us to keep the car looking good even in the winter or when it is raining. Detailing is about more than making a a car look nice — wax or paint sealant helps to protect the metal and paint from water and dirt, so regular detailing can help maintain the car. For detailing, we need a drain and hose spigot inside the garage, plus ample surrounding space. An electric outlet would provide power for detailing tools.

I like to work on my cars. In addition to work space, this requires storage space for tools, jack, stands, parts, etc. Both overhead and movable task lighting are required. Both lighting and tools need regularly-spaced outlets. We will also need storage storage space for wheels/tires and other seasonal items. Car work can be dirty, so an in garage sink would be nice.

We will need space for cabinets, drawers, and other organizational aids to store supplies and tools. We may not install all of the cabinets we want at once, but it is important to design in the room for these things.

Looking forward, we want to be able to eventually install an electric car charging station. A normal household circuit is 120V at 15 or 20 amps. Large appliances (such as washer/dryer) might run at 240V/30 amps. Electric cars can use a larger circuit to charge more quickly. For example, Tesla's site lists home charging up to 240V/90 amps; and it has support for 440V commercial circuits (I don't even know if that is possible to get installed in a residential home). Getting a very high-amp 240V circuit run to the garage seems like a good thing to have done up front.

Even if it is not part of the main house and is a more focused space, the garage will have a big impact on the quality and enjoyment of our living situation; so making sure to think it through carefully before we start building is important.

Private Spaces: Second Floor

The second area (and second floor) of our house contains the private spaces. The activities located here are more personal: sleeping, bathing, dressing, and quiet activities such as reading, writing, crafts, etc.  There will also be storage and laundry space.  The second floor works well for all of these, as it is separated from the public areas of the first floor, and is "deeper" into the house than the first floor — you must cross through the public areas and go up the stairs (a transition) to get to the private spaces.  This provides a feeling of privacy and security.

Mirroring the first floor, the second floor must have an entry. Where the stairs enter into the second floor should be a landing or distribution area.  Unlike the first floor, where the open public spaces allow flow through each area, the second floor should have direct entry to most of the spaces (e.g., you should not have to cross through the master bedroom to get to one of the children's bedrooms).

Our bedroom (the master bedroom) will contain two functional areas: sleeping, and dressing.  In most bedrooms these areas are combined into one large room; we are considering having them a bit more separate, but we haven't decided for sure yet.  Clothes storage is part of the dressing area, but this does not mean we'll have a traditional walk-in closet; instead, we may look at built-ins along the wall which would conserve floor space while still providing plenty of storage.  One of the areas should accommodate some quiet activities that require light — for example, reading a book, or writing a journal before bed.

Attached to the master bedroom will be the master bath, with most of the normal pieces: shower, sink and toilet.  We will probably skip a bathtub, as neither of us use it regularly; instead, we'll just have a larger shower and still save space.  We do want two sinks so we can share the use of the bathroom.

The other main area for upstairs will be bedrooms for children (we want children; but we prefer to have only one major life change at a time, so we'll wait until the house is done).  Planning ahead for children can be a bit tricky, and the needs of children change over time; building in one particular way might not work even if we already had kids.  We're thinking about starting out with a shared room (with private bed alcoves) for when they are young. We would design it in such a way that it could be divided as they get older (especially if they end up being different genders).  This could possibly be accomplished with dynamic walls that allow us (or them) to join or separate the rooms as desired.

We think that the convention that adults should have elaborate master suites while children should have simple boxes is backwards. The rooms for the children should accommodate sleeping, dressing, play, homework and many other activities that we, as adults, would use the office or living area for. They will also need a bathroom, which will have a combined shower/tub, since it is much easier to use a tub when kids are young.

The laundry room will be upstairs, near the bedrooms, as that is the most convenient place to use it.  We will probably have space for both machine and hand wash (a large sink, for example), and machine and hand dry (racks and lines for drying).

There will be various storage upstairs — for linens, towels, clothes, kids toys, books, etc. Don't tell the kids, but we also want to design a small "secret" storage place into each child's room (different in each room, of course).

We will also have some space for pets upstairs.  Right now this is a pair of cats, and all their associated litter, water, food, toys, etc.  We would like a space that is semi-private for them to feel secure in; and that is easy to clean up messes (hairballs), food spills, litter, hair (i.e., not carpet!).

Public Spaces: First Floor

Our first region is the "public" region. Since we are designing a home in the community, it is worth pointing out that these are the "private public" regions of our home, not the shared community spaces. We will talk about those later.

We want the public region to be the heart of our home. This will be where we conduct many of our day-to-day activities and welcome and entertain our guests. These spaces include the entry way and areas for socializing, dining, cooking, and entertaining (i.e., media usage).

The entryway is the most public area of the home and the place where people enter and leave the building. It is rarely designed as its own room in contemporary homes. In fact, the area as a whole is often sorely neglected; in many homes it is little more than whatever space was leftover near the door with a closet thrown in for storage. However, the entry way is important both functionally and socially. It needs to pack a lot of functionality into a small space. It should connect well with the rest of the public area, both carefully revealing the home and welcoming visitors into it. We will likely have our entry open into the living area or some space between the kitchen and living area.

We want the social, dining, and cooking areas to be closely integrated, so we plan to have a fairly open plan that includes the kitchen, dining area, and living area. These areas will not have walls between them, but they will be differentiated by changes in flooring type or height, ceiling height, room shape, furniture clusters, and for the kitchen, the appliances and counters. We are inspired by the Farmhouse Kitchen pattern. This does not refer to the decor of the space but rather to the connection between the spaces.

The living area will be focused on socializing, not media usage, so there will be no display screen. The focal point will probably be a view through a window. The emphasis will be on interacting with other people — chit-chat, serious discussion, board games, etc. This area will hopefully be connected to a patio where we can move our socializing when the weather is nice.

The kitchen should accommodate the two of us cooking and baking together. It will have to handle prep, cooking, baking, clean-up, and serving — for simple dinners for the two of us; for nicer dinner parties; for our weekly potluck with friends; for parties where there is not much cooking or baking, but lots of food set out for snacking; and for special holiday gatherings with tons of food and people. It should be well-placed to serve both the dining area and living area.

The dining area should be able to hold a table big enough for a large group of people (at least a dozen), and it should be well-placed to serve or dish food from the kitchen. We do not feel the need for a formal dining room, and are happy to have it open to the kitchen and other areas.

We often entertain with the aid of digital media, but integrating a TV into a social area is difficult. Although these two activities are often combined in contemporary homes, they have different goals. For entertainment, you want everyone focused on a single point — the screen. For socializing, you want everyone focused on each other, which usually means some form of a circle or other convex shape. Additionally, when both activities might be happening at the same time, isolating the entertainment area (and its attendant noise) provides a benefit for everyone.

We plan to have a dedicated media room that can be better acoustically and visually controlled than a common room, and can have a more focused setup that helps optimize the number of people who can comfortably consume media together. This allows us to optimize the living area for socialization, in turn. Some ability to link the two would be nice — perhaps via french doors or a moveable wall, but that is still speculation at this point.

A guest room is a semi-public space. It does not quite belong in the private family spaces, but it should not be open to the rest of the public space. An office is also a semi-public space. It should allow isolation when needed, but we will often want to remain connected to the public areas of the home while we are using it. To address both these concerns, we plan to have an office that can be converted to a bedroom on the first floor. Having the guest room and a full bath on the first floor will also be useful as our relatives get older. It will give us the option of moving our own room downstairs as we age.

Finally, there must be some access for the stairs to the upper level. This will likely be towards the back, away from the entry and (at most) on the very edge of the public spaces. There is a balance needed here between being a dividing line to the private spaces that keeps away visitors, but also welcoming residents to the more private areas of the house.

Next we'll move on to the upper floor and private spaces.

Introduction to Spaces

Designing a home can be an overwhelming process. The key thing for a home designer to remember is that you are designing a home for you. The best way to start the home design process is to think about your life and needs. What do you do? Consider both day-to-day and special activities. How are these activities related? Which ones naturally fall into groups? Think about how these activities are grouped in your life. This may differ from traditional groupings. How do these activities map onto rooms? Which things must/must not/could share space? We are going to skip the boring details of our activities (brush teeth, feed cats, host friends for games, etc.) and start at the end of this process. At this point we are still very far from a complete design, but we have an idea of the different regions our home will contain.

At the highest level, our home has four regions: public, private, vehicle, and common (i.e., community). These map roughly to the first floor of our home, the second floor of our home, the garage, and the outdoor areas and community house.

Obviously, these areas are not all within the physical bounds defined by our walls. One of the great things about this project is that we get to be involved in the community design process from the beginning. We will not have as much control over the common areas as over our own building, but we will be able to realize advantages that come from sharing amenities.

Over a few posts, we will describe our goals and nascent ideas for each region.