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

Decks and Green Roof

Decks and patios can be just as important to a house as the main rooms. If properly designed, they too act as rooms of the house. Like interior rooms, they should connect logically to the rest of the house, and to attract people to them, they must be spacious and laid out properly.

The obvious place for a deck is outside the living room to the west. It is easily accessible from the main floor and looks out towards the view. We made it about the same size as the living room, nestled into the corner of the stair tower.

The second natural deck location is the roof of the garage. This temptingly large surface is roughly level with the second floor. Following the Roof Garden pattern, the space is divided into a green roof and a deck. A built in bench provides a nice sitting space. The deck portion was designed lower than the green roof, giving a sense of sitting in the greenery.

Several patterns helped guide our design:

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.
• In our home: Both of our decks are designed as outdoor rooms. The main deck mirrors the living room in position and size. It has a railing that feels comfortably enclosing, but still leaves a connection to the wider outdoors. Its placement gives it some of the best views in the house, while directly connecting it to the main social spaces. It will be easy and attractive to move from the living room to the deck when the weather allows. It has a natural gas outlet available so we can use a grill out there in the future.
  
  The upper deck is a private room. It is enclosed by the building wall on one side and the back of the bench on the other. It has a bit of roof overhang to enclose it, too. The location off of the master bathroom and laundry room makes it easily accessible for the family. The bench and green roof make it an attractive place to spend time.

Six-Foot Balcony (167)

• Problem: Balconies and porches which are less than six feet deep are hardly every used.
• Therefore: Whenever you build a balcony, a porch, a gallery, or a terrace always make it at least six feet deep. It 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.
• In our home: The main deck off the living room is about the same size of our living room. It sits in two corners of the house to achieve a recessed feel.
  
  The upper deck is wider but not as deep as the lower deck. It is about 10' deep, including the bench. Being above the garage, it feels tightly attached to the rest of the building.
  
  

Roof Garden (118)

• Problem: A vast part of the earth's surface, in a town, consists of roofs. Couple this with the fact that the total area of a town which can be exposed to the sun is finite, and you will realize that it is natural, and indeed essential, to make roofs which take advantage of the sun and air.
• Therefore: Make parts of almost every roof system usable as roof gardens. Make these parts flat, perhaps terraced for planting, with places to sit and sleep, private places. Place the roof gardens at various stories, and always make it possible to walk directly out onto the roof garden from some lived-in part of the building.
• In our home: The biggest accessible roof space in our house is above the garage. We split that into a roof garden and a deck. The roof garden is a green roof system from GreenFeathers. Plants are grown in modules at the company's nursery for several months. Once the plants are established, they are transported to our house. The modules are placed on the roof, and the liners are removed to connect the sections together. It is designed for our climate and should need almost no maintenance. During the hottest days of summer it will need a bit of hand-watering; but otherwise will take care of itself. We have the largest green roof in the development so far, and we went with some deeper modules. The deeper modules allow larger plants to grow, including some that will turn in to small bushes. There are a variety of plants to provide variation in height, color, and bloom time. The layout includes some terra cotta stones to provide access to all parts of the garden.
  
  The deck next to the green roof provides a sitting (and even sleeping) space. It feels tightly integrated with the plants, placing a garden at your back as you sit on the bench.
  
  The other major part of our roof is the butterfly top. It is not so easily accessible, so we did not add a deck or garden up there. To make it potentially usable space in the future, we ran a conduit from the electrical box to the roof. This will allow us to easily add solar panels on the roof when we desire.

From layout, we moved to materials. Ipe is a popular wood for decks. It is weather resistant, and turns a silvery color over time. Yuval prefers batu. It is also weather resistant, cheaper than ipe, and has a rich red color. The warm color provides a contrast to the cool colors of our house, and Seattle's typical cool, cloudy weather.


No deck is complete without a railing — no safe deck, at least. Like the other houses, we chose a slatted design using the batu. The vertical posts are powder-coated steel. Originally we considered stainless steel. Eventually, we decided to use a darker color to match the interior window trim. That helps to make the posts disappear and lets attention be drawn to the view. For similar reasons, we went with a horizontal strip of batu on the top of the railing instead of a cylindrical steel tube.


We're happy with how the decks and green roof turned out. They are warm, comfortable, and inviting places. We should make good use of both decks (when the weather allows).

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.

Front Door

The front door doesn't need to be particularly special for an entry to be successful. It needs to be of good quality; it needs to be visually set apart; but it doesn't need to be elaborate.

That said, we wanted our front door to be something special. We wanted it to set the tone for the rest of the house: refined, simple, elegant, well designed, natural. Like the other houses in our development, we had our door designed by Christopher Lindsley, a local craftsman (who, with the commission of several dining room tables and a number of other pieces, is quickly becoming the woodworker for our development).

Designing a door is an odd process. Because of the time it takes to create the piece, and because it is nice to have a door on the house by the time you start leaving valuables inside, door design starts before a lot of the other decisions have been made. The door should set the tone of the house, but when we started designing the door, we only had a high level idea of what that tone would be.

Our first concept played upon the L-shape motif that we used on our stair tower. We envisioned something with two L's in smoky glass in a field of dark and driftwood grey wood. This initial concept had some problems. In addition to not leaving a good spot for a door handle, it felt more geometric than we wanted.

Chris talked us out of this basic concept, but we did like some of the basic ideas: light and dark contrast and a sense of flow and motion. Chris and Yuval worked with us to shape this into a couple of different designs. One, shown below, used a shifting stair step to give a sense of dynamic flow. Another option really built on the "tetris piece" theme of our initial concept and involved a lot of different sized pieces covering the door. Both of these could have been quite striking, but we eventually went a different direction. These ideas were neat, but they didn't seem quite right. Plus, when it came down to it, finding the right combination of wood to balance the sense of dynamism and simplicity was difficult. Even a single variety of wood has such variety in color and grain that combining that variation with a lot of small pieces became noisy.

We were somewhat stuck at this point. Our second design meeting ended at something of an impasse. Everyone liked different parts of different ideas, but nothing really captured our imagination. Fortunately, before our third meeting, Chris had an inspiration which took our door in a completely different dimension.

Our final design combines a simple but weighty door with a substantial surround and deep casing to evoke (but not slavishly copy) a Japanese temple gateway. The strong horizontal line of the fascia enhances that effect. The crisp but natural design evokes the aesthetic we use throughout the house with the woods providing a preview of the materials that will be encountered inside.

Eventually, the surround will be stained dark to increase the contrast with the door (the sides of the surround already are).

The downside of this design is that we gave up a bit of functionality for aesthetics (in that sense, the door isn't representative; usually we drop aesthetics before functionality). Notice the complete lack of windows by the entry. Entry windows are great for letting you take a peak out when someone comes by (is it an unwelcome solicitor?). They are also something of a security feature. In the end, we decided it was something we could live without to get the look we desired.

From the inside, the door looks more standard. The white oak door is surrounded by unstained white oak casing and adorned with a simple dark bronze handle. To add more interest, we choose to use a piece of white oak with some personality.


Overall, we are really happy with the way our door turned out. Later, we'll look at how it fits into the rest of the entry sequence.

Driveway and Hardscaping

The exterior concrete and aggregate for the house is poured, so the hardscaping is nearly finished. Only a bit of clean-up is left.

Three areas outside the house needed concrete: the entry, the driveway, and the north side of the house (a fairly steep slope shared with our neighbor which needed retaining walls to control erosion).

The relationship between the garage, driveway, and entry was informed by this pattern from A Pattern Language:

Car Connection (113)

• Problem: The process of arriving in a house, and leaving it, is fundamental to our daily lives; and very often it involves a car. But the place where cars connect to houses, far from being important and beautiful, is often off to one side and neglected.
• Therefore: Place the parking place for the car, and the main entrance, in such a relation to each other, that the shortest route from the parked car into the house, both to the kitchen and to the living rooms, is always through the main entrance. Make the parking place for the car into an actual room which makes a positive and graceful place where the car stands, not just a gap in the terrain.
• In our home: It was natural to have the main entry and the garage entry be in the same location. But to really nail this pattern, we chose to forgo any separate garage entry into the house. Whether coming from the garage, driveway, or street, you always come through the same front door. Right now, the driveway is more of a gap in the terrain than a positive and graceful place, but we are going to use landscaping to remedy that (as our neighbors have already started doing to good effect).

On to the details. The driveway was constrained but straightforward. It connects the private drive to the garage. Due to the hill, it slopes downward. We asked for as smooth a transition as possible to accommodate any low-slung sports cars we may own in the future. The top of the driveway curves north a bit to reduce the elevation change. To add interest and break up the linearity, we continued the curves on the south side of the driveway. A strip drain at the bottom of the driveway will catch water from the garage and driveway.


The entry hardscape provides access from the driveway, garage, and street. A landing at the top joins the driveway and the steps from the street. A wide and long set of shallow steps descends to the front door. A second, less grand set of steps leads from the garage side door and stays under cover of a canopy which will keep us dry when going from the garage to the house.


There is a lesson hidden in these stairs: don't be fooled by false economies. We had poured an earlier concrete foundation before the steps were fully designed. There ended up being a few conflicts between the foundation and the final aggregate. In the end, some chunks of concrete had to be chiseled out, and a few of the foundation walls are still visible. They will be cleaned up and finished a bit more before construction is complete. It might seem easier/cheaper to do something earlier (like pour concrete when the truck is going to be onsite for other work), but doing so before design is complete either constrains your design or forces you to undo a bad decision.

Entry and driveway forms are different than foundation forms. The entry and driveway are wide, thin slabs. The forms are simple boards, with flexible strips forming corners and other curves. The concrete is poured and smoothed, then the top layer is removed to expose the aggregate. This gives a more interesting look and doesn't show wear as much as smooth concrete would.


The north side of the house looked more like a traditional foundation. This space has the potentia to be a nice area between our house and the neighbor's, but it is rather steep and, without care, would just be a hazardous hill of dirt. Our initial plan was for concrete retaining walls with an aggregate stairway. It would stabilize the slope, give some area for landscaping, and provide a functional path to the backyards. This work would benefit both homes and straddle the property line, so we agreed to split the cost evenly. It was a lot of excavation and concrete work, however, so we ended up scaling back the original design. The retaining walls were the most important part, so those were completed as-designed. The dirt was backfilled around them to stabilize the slope. Later we will add a pathway, but it will probably be a simpler landscape-style pathway with some gravel and wood treads, instead of a full aggregate path.

Landscaping will go around the hardscape a bit later. Plants and softer, less permanent pathways will be added to connect the sidewalk to the entry landing. Much of the landscaping work can be done after move-in by us as we develop the design and actuality of the landscape. The hardscaping is the messier and more difficult work, and it was valuable to complete it along with the rest of construction.

Exterior Design and Colors

The exterior is finally painted, and other than a few touch-ups, the exterior design and color is fully finished. Let's compare what we ended up with to our original plan and inspirations.



This picture gives the best evidence of the look we were trying to achieve. The garage has larger panels, and the dark grey stands in contrast to the light grey lap siding on the rest of the house. Details such as the windows, roof fascia, and deck edging, are in a dark color to provide an accent.

The charcoal frame of the windows was the first piece in place. Those were ordered when construction started, and installed back in February.


The fascia around the edge of the roof was installed in April and May. We were limited by the colors available in the metal, so we decided on a dark bronze. It was just shy of black to avoid too stark of an accent, with just a touch of warmth from the bronze.

Unfortunately, this didn't quite work out. The dark color of the metal highlighted the flex and imperfections in the metal due to the height of the fascia. After some trials of different installation techniques and different materials, the roofing contractor decided to use a thicker metal. This cut down on the warp and flex of the metal, giving a smoother look. However, the colors in this metal were different than our original colors! The fascia ended up with more brown in it, as an espresso color.

At the time, we decided this would be acceptable, as the color was not directly next to the charcoal of the window frames.

The paint colors are the largest applications of color and really define the look of the house. 'Dark grey' and 'light grey' and not specific — there are thousands of varieties of grey in all different shades. Colors look different under different light and against different colors. Not only do we have the window trim and the fascia to compare against, but we have the reddish wood on the deck, and the neighboring houses. The house directly next to ours has a blue theme, while the first house has a bit more of a bluish-grey style; but the house across from ours (which is not painted yet) is aiming for more of a brown/cream palette.

In our original design meetings, well before construction had started, we had picked out a couple of candidate pairs of colors. One was a bit cooler, and the other was a bit warmer, but they were fairly close together. These were not chosen under realistic conditions; the samples were small and the light artificial. Once we painted these on some pieces of siding to compare against the window trim, deck wood, and neighboring houses, it was clear neither pair were right for us. The cooler pair was noticeably blue against the window and decking. The warmer pair was noticeably brown against the other houses (in fact, one of the shades matched the dry dirt around the house rather well).

We took another look, and came up with two more palettes. The first was Dovetail and Dorian Gray. The second pair was Attitude Gray and Unusual Gray. The Dovetail/Dorian pair was a touch warmer, and was a good match for the existing colors. However, it matched a bit too closely, and ended up looking bland.

The Attitude/Unusual pair has a bit of a green undertone. It works with the rest of the colors, but gives a more interesting look. The green pairs well with the trees and foliage around the house, but the colors are still grey enough to appear as such to the casual observer.



The surprise came once the paint was applied. The colors look good, and we're pleased with them. However, there is large variability in how the color is perceived. In bright sun, the light color is a nice light shade of grey, almost a bit cream-colored; while the darker color has a noticeable green tint.



In shadow, the lighter color darkens up noticeably, but gains a bit more green.



Right next to each other with some sun, the lighter color gains a touch of blue.



Overall, a bit more contrast between the colors in the shade would've been nice (as shown by our initial inspiration picture), since Seattle isn't known for its abundance of sun.

The other problem at this point is the fascia. It is noticeably browner, especially when compared to the various accents painted to match the window trim.



Ultimately we think it will be OK, but we're tweaking the colors near the entry to prevent too harsh a comparison between the various shades.

At this point, the exterior of the building is largely done. There are still some details left — deck rails, stain around the door, a little more trim paint — but after that, it will be more or less in its final shape!

Flooring

Floors are an unavoidable fact of life in this gravity conquered world. It seems to be little more than an expanse of necessary eye candy. But flooring can have as much impact on the feel of a home as any other element.

And, of course, A Pattern Language has a pattern to capture the approach we should take with flooring.

Floor Surface (233):

• Problem: We want the floor to be comfortable, warm to the touch, inviting. But we also want it to be hard enough to resist wear, and easy to clean.
• Therefore: Zone the house, or building, into two kinds of zones: public zones, and private or more intimate zones. Use hard materials like waxed, red polished concrete, tiles, or hardwood in the public zones. In the more intimate zone, use an underfloor of soft materials, like felt, cheap nylon carpet, or straw matting, and cover it with cloths, and pillows, and carpets, and tapestries. Make a clearly marked edge between the two — perhaps even a step — so that people can take their shoes off when they pass from the public to the intimate.

This ties in closely to...

Intimacy Gradient (127):

• Problem: Unless the spaces in a building are arranged in a sequence, which corresponds to their degrees of privateness, the visits made by strangers, friends, guests, clients, family, will always be a little awkward.
• Therefore: Lay out the spaces of a building so that they create a sequence which begins with the entrance and the most public parts of the building, then leads into the slightly more private areas, and finally to the most private domains.

In our house, the entrance and main level are public spaces. The lower level is semi-public, the upstairs landing and laundry room are semi-private, and the bedrooms are the most private spaces. Combining that with the flooring guidelines led us to

• Hardwood for the main level and all the stair landings: these public and semi-private spaces need durable flooring
• Tile for the entrance and the wet areas (laundry room, full bathrooms): these areas take the hardest and dirtiest wear
• Carpet for the bedrooms: the softness of the materials provides comfort and emphasizes their private nature

The media room is a bit of an exception. Its status as a semi-public space might suggest hardwood. However, since sound reflection is something that needs to be controlled, we will use carpet. The office and powder room on the main floor are not technically public spaces, either, but hardwood is a reasonable choice for them because of their adjacency to the public areas and the way they are used.

Flooring in depth

Hardwood

Hardwood dominates our floors. Its pervasive presence makes a major contribution to the character of our home. Because of this, we spent a lot of time making our choice. The obvious consideration is the type and color of the wood, but there are other aspects to consider.

Structure
The first consideration is wood structure. Solid hardwood is what it sounds like: each board is a single solid piece. Engineered hardwood is made of several layers: a top layer of the desired wood above a few layers of a manufactured wood product such as particle board or plywood.

Solid wood flooring can be completely sanded and refinished 5-7 times, since the wood is the same all the way down. Engineered flooring has a thinner layer of the surface wood; the better products can handle 3-5 sandings. Engineered flooring is much more stable. Wood expands and contracts based on temperature and humidity. The several layers in an engineered plank mitigate this by expanding/contracting at different rates. This allows for the use of wider, tightly seamed planks.

This choice was easy: we decided to go with engineered wood. Our builder recommended it, and the stability and precision of the boards was appealing. The wear layer is 1/4", which is on the thicker end for engineered flooring, and the refinishable layer of solid wood (before the tounge & groove and nails become visible) isn't necessarily much thicker.

Finish
The second consideration is finish. We considered polyurethane coat and oil finish. A poly coat is basically a liquid plastic that coats the floor. It completely covers and protects the wood, and leaves a smooth, glossy finish. It needs little maintenance, can be mopped, and gives a much glossier look. The disadvantage is that the poly coat will collect noticeable scratches over time, and cannot easily be spot-repaired: a large section (up to the entire room) has to be refinished to keep the coat consistent. In contrast, an oil finish gives a more natural look to the wood and allows spot-repairs. The disadvantage is that it requires an annual application of oil and requires more care when cleaning it. A big difference from polyurethane is that an oil finish does not create a barrier, and so the wood will acquire more wear (including stains) over time.

This was a tougher decision. We weren't attracted to the poly coat finishes. It doesn't fit the natural look we want on the main level, and the propensity to show scratches was not appealing. While a yearly re-oil of the all the wood floor is far from ideal, we were attracted to the natural aging gained by an oil finished floor. We like materials that age gracefully, and having a floor that will accept changes fits that desire.

Yuval recommended Navarre Oiled Floors. They are wide-plank, thick-veneered, engineered, oil-finished hardwoods. We wanted something fairly subtle so that it wouldn't overwhelm the room. We eliminated the options that were too red, too yellow, too dark, or too busy (mainly in the exotic woods). We ended up going with Montauban, a nice white oak.



Hardwood is installed fairly early in the finishing process so that cabinets, trim, etc. can be installed on top. But it is more easily damaged than tile, so it needs to protected during the rest of construction. They ended up using the boxes that the flooring came in to protect the floor. They are taped down (with painter's tape) so they don't slide around, and the edges are left clear for trim installation. I thought it was a clever solution.

Tile

Keeping to the theme of natural-looking materials, we decided to use a stone-look tile throughout. In the bathrooms a bit of texture will help to prevent the floor from getting too slippery when wet. Many of the tiles we looked at can be used outside, which would allow us to unify the interior and exterior portions of the entry with the same flooring. Yuval recommended Ecotech tiles, which we really liked. We settled on the Ecogreen in the structured (rougher) finish for all the tiled floors in the house.

Carpet

Carpet is installed at the end of construction to prevent unnecessary wear or damage. We have just started looking at products and colors. We will probably choose a light- to medium-grey color for the carpets in the bedrooms. It should be fairly neutral, and work well with dark woods (in the master suite), and whatever paint colors we use in the second bedrooms. The media room will take a darker color, possibly something similar to the Bordeaux color from our color palette.

The media room will use a fairly dense carpet that will wear better, but isn't quite as cushy. The bedrooms should have less traffic, so we will use something a bit plusher and more comfortable on the feet. Yuval suggested a couple simple nylon green carpets: Americana (denser) and Mica (plusher), both from Masland. We are also looking at Karastan SmartStrand carpets, which are an interesting green carpet made from corn. As novice fiber nerds, we were required to look briefly at wool carpets. These are generally considered green, but are more expensive, not as plush, and are generally looped carpets (less good with clawed critters).

Conclusion

Despite having only three types of flooring, a lot of effort has gone into choosing exactly the right material and style for each portion of the house. It needs to fit the intimacy gradient, be appropriate for the amount and type of wear, and give the appropriate character to each room.

With the majority of the flooring installed, we are pleased with our choices. Having flooring goes a long way toward making our building feel like a real house and really starts to give a sense for how nice of a space it will be.