This little boat shed captures the appeal of the New England vernacular. Its seeming simplicity is largely the result of good design. Like an Olympic athlete who’s mastered her sport, making it look almost effortless and easy, Redd’s Pond Boatworks makes a hard-working elevation look simple.

The composition of the two openings within the gable-end elevation sets the stage for contrast: triangle vs. rectangle, small vs. large, centered vs. offset, top vs. base. The proximity of the smaller, upper door opening to the larger door opening below links one to the other visually, with only a single red clapboard between their trim. The location of the larger door off to one side is balanced by the smaller, upper door centered within the gable.

It’s the use of color, though, that may seem the most striking. The white-on-white of the upper clapboards and trim calls attention to their dimension, depth, and texture. The red doors and lower red clapboards dramatically offset the white, while accenting the transition from the upper-middle part of the elevation to the top.

The construction of the different components further plays on contrast for their appeal. The vertical square-edge boards of both doors, bound by trim, graphically juxtapose the horizontal clapboards that surround them. The angle of the overhanging rake trim (along the roof) adds another dynamic set of graphic shadow lines.

The sign, of course, contributes to the building’s irresistibility with its matter-of-fact white capital letters hovering over the red doors of Redd’s. I imagine the visual pun was intended, yet another well-conceived detail on this deceptively simple charmer.

by Katie Hutchison for the House Enthusiast

Q: I’m currently remodeling my 1960s single-story ranch home. My question is whether you think it’s possible to add an attached garage (with living space above) without dwarfing the original box-type ranch? I believe that I’m constrained by the original 6/12 pitch of my ranch and the height needed for living space above the garage.

 Matthew from Westfield, MA

A: This is tricky. You’re right; you’ll want to modulate the difference between the eave/roof height of the existing ranch and that of the new garage which has living space above. Otherwise, the new, taller addition could easily overwhelm the existing, single-story building.

For the sake of this discussion, I’m going to make the following assumptions:

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Never before have I seen an outdoor fireplace as in touch with its surroundings as this rugged, earthy creation at the Polly Hill Arboretum on Martha’s Vineyard. It’s right at home near an enormous shading tree. Following the tree’s lead, the fieldstone base grows up from its roots to form a trunk-like chimney. It then rambles off to the side to create a stone wall that shapes a generous outdoor room under the tree’s canopy.

Though lichen and vine-covered by nature, its construction attests to the human touch. Stacked rounded stones, horizontal granite lintels, and a careful arch reveal a craftsman’s skill. An iron oven, sweeping fireplace crane, and anchor-style andirons combine utility with appealing artistry. The recessed rectangular niches above the firebox contrast with the organic overall shape of the fireplace, further indicating the organizing touch of the craftsman. Perhaps these niches were once display spaces, or, more likely, they contained shelves for storage and maybe even cabinet-style doors.

This seeming ruin still “functions” I’m told. Clearly it does; it functions to inspire us with what nature and mankind can conspire to create.

by Katie Hutchison for the House Enthusiast

Click on this photo to see it in the note cards/prints gallery.It’s easy to overlook something exquisite or noteworthy when it’s familiar. It’s worth training your eye, though, to stop and recognize good design at work. So I’m launching a new category with this posting in which I’ll share a “Design snapshot”.

The photo to the left captures part of the everyday architectural landscape in historic Salem, Massachusetts. The materials of this antique building elegantly perform their function while creating a richly textured composition.

The rectangular, coursed granite of the foundation holds the building up, and the apple-sized, perimeter stones facilitate drainage. In the process, each contrasts aesthetically with the other. One is linear, methodically stacked, and heavy; the other is rounded, informally piled, and light enough to collect and carry. The cream-colored, thick, bevel-edged, wooden, “water table” trim that runs above the stone foundation, and outside of it, provides a functional transition between the inset foundation below and the water-shedding clapboards above. It also provides a visual transition between the large, mottled, grey stones and the narrow, golden, hand-hewn wood siding. As the building grows taller above grade, windows provide view and light; their deep, thick sills shed water away from the siding. In addition, the windows punctuate the composition with contrasting transparency and cream-colored, wooden elements.

This age-old building’s individual components work together to perform and delight.

by Katie Hutchison for the House Enthusiast

Directed by Sydney Pollack

I haven’t been much of a fan of Frank Gehry’s, so when I heard about this film I didn’t run out to see it. Then I read an item in the Design Observer referring to The New Yorker piece about the “F--- Frank Gehry” T-shirts, and I became intrigued. It turns out that Gehry has a sense of humor about himself. Through an unlikely series of connections, the “F--- Frank Gehry” T-shirt, made by Barnaby Harris (who launched his T-shirt business with “F--- Yoga” T-shirts), found its way to Gehry who wore it to the office, to the gym, and then started ordering them as gift items in all sizes and colors. Bravo. I decided to rent the DVD.

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