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.

Interior Color

Modern architectural style allows for two colors: black and white. That, at least, is the stereotype. But color is an important element in setting the mood of an interior, and paint is one of the cheapest ways to make a dramatic statement. We wanted to use color as a decorative element in our home.

Choosing the colors
The first step was choosing a color palette. We started with some options that our color designer put together for us. We chose a fairly complex palette: 5 colors, including Martha Stewart's Terra Rosa.

We experimented with many different combinations of colors from the choices Anne had put together for us. While there were some combinations that didn't work together, overall, we would have had a difficult time choosing a palette we disliked from the choices we had.

Eventually, we decided that bordeaux and slate teal (the main middle and right colors above), were our two must have colors. The lighter purple (dreamy) and lighter blue (saratoga springs) each on their own left the palette feeling a little unbalanced, so we decided to use both as approximately harmonious lighter shades of the purplish bordeaux and blueish slate teal. When we were onsite deciding where to use the colors, we decided to throw in terra rosa. We wanted something a little brighter and more energetic for the laundry room.

Using the colors
Once we chose a color palette, we got to decide where to use it.

Window frames
We chose to go with dark window frames on the interior. The dark trim, which matches the frame color on the exterior, both accents and minimizes the window frames. The dark trim really pops against the white walls, but it is actually less noticeable than white trim when looking through the windows at the view.

Dining room accent wall

We wanted the dining room wall to be a splash of rich color to help define the dining room as a separate region within our open space and to act as a frame for a couple pieces of frameless art that we plan to put on that wall. Our color designer, Anne, likes to always end color on an inside corner so that it doesn't feel like it suddenly died. From that, we got the idea of treating that wall as if it were a teal block penetrating the room. We even continued the color inside the entry closet to really emphasize that effect.

Powder room

We had conceived of the powder room as having a dark grey accent wall to contrast with the slightly golden tan tiles, but when it came down to choosing the wall, we couldn't decide which one to paint. Instead, we decided to take a risk and paint the whole powder room dark, ceilings and all. The effect is dramatic, but we think it works.

Bedrooms

We chose not to use any paint in our bedroom, but we wanted to have a little fun in the secondary bedrooms. These two bedrooms are are nearly identical, so we wanted to use color to differentiate them. From Eve Ashcraft's The Right Color we got the idea of painting the ceiling and closet interior as a way to add color without making the color as overwhelming as it would be if all the walls were painted. We made the east facing bedroom the morning room and accented it in blues. The evening room is accented in purples.



Laundry room
Laundry rooms can be boring, so we wanted to use color to give the room some energy. We decided to do this using two accent walls in a bright coral color. Because colors tend to look brighter and lighter when painted on a wall, we went with terra rosa, which appears a bit subdued in small quantities. As the picture below shows, it's anything but subdued when you paint two walls with it.

Media room
We wanted the media room to be fairly dark so as to minimize reflection from stray light when we are watching movies. Given our palette and tradition, the obvious choice would have been bordeaux. Dark rich reds go with theaters like bright reds go with sports cars. However, one of our inspiration photos had been a dark blue room, so we decided to use the slate teal for the walls and ceiling of the media room. We paired this with dark trim to create a room that will enclose and embrace its occupants.

By using color selectively, we've been able to add some interest without taking away from the clean, refined look we are trying to achieve for the house.

Doors and Trim

Doors and trim may not be the sexiest part of a house, but without them a house won't look finished.

Tall trim is popular now, but we didn't feel it was the right look for our house. We wanted something minimal. Our trim is about one inch tall and not quite as deep. We debated between a wood finish to match the floor or white painted trim to match the walls. We chose the painted version, partly because it was a bit cheaper.

The electric outlets on the main floor are low and oriented horizontally to continue the clean look. With white paint on all of the doors, trim, and windowsills, the trim pieces almost disappear. The door handles are simple but elegant in a silver metal.

There were some exceptions, of course. Our dramatically dark media and powder rooms called for dark trim and doors. The trim in rooms with tiled floor is also tile. The exterior doors have dark bronzed hardware instead of the silver used inside.



Most of the doors are normal hinged doors, but there are some exceptions. The media room door has weatherstripping to help isolate sound. The toilet closet in the master bath has a pocket door (sliding door in the wall) to keep it compact. We eliminated the pantry door completely to make access easier.

Other than the entry door, which got a post of its own, we had three doors that we wanted to make more interesting. We wanted to add interest to the main floor and upstairs landing, and we wanted doors that would stay out of the way when they are open (which we expect them to be most of the time). For these locations we chose barn doors — sliding doors mounted on the wall so that they slide in front of it.

Translucent doors allow light through and complement a modern aesthetic. One appealing option was 3form, their Varia Ecoresin comes in a variety of colors, textures, and patterns from inserted materials. We also considered doors from The Sliding Door Co., which has a variety of simpler designs.

Ultimately our favorite option was frameless frosted glass doors with prominent hardware from the Sliding Door Co. The hardware is a bit industrial-looking but also sleek and modern. Upstairs, we matched the doors to the kids suite and the master suite even though the openings are different widths. The identical doors in different positions (one nearer the stairs and one farther) provide a nice balance.

The sliding doors provide impact in a few key places, while the rest of the doors and trim serve to finish the edges in the house without drawing too much attention. Perhaps more exciting, once you get to trim and doors, you know you're approaching the finish line!

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.