Hine Feature Article

NEW OLD HOUSEBuilding Character in Today’s Homes

www.oldhouseonline.com

Old-House Journal’s

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Spring | Summer 2011 Old-House Journal’s New Old House 3

Contents28 Fairfield Federal

By M ary GrauerholzArchitect Peter Zimmerman designs a Colonial-era inspired farmhouse in Connecticut, using examples from the area’s past.

36 Casa de la TorreBy Janice Randall Rohlf Architect Thomas Bollay meticulously crafts an authentic Spanish Colonial house in California’s Montecito foothills.

46 Gulf Coast Simple By Susan NettletonA renovated French Creole cottage in Florida offers the best of relaxed, pared down living.

54 Healthy Farmhouse By N ancy E . BerryPatrick Farley of Watershed Architects listens to the land and his client to create a home that is both sustainable and good for body and soul.

4628 36

6 Old-House Journal’s New Old House Spring | Summer 2011

T imeless, sustainable, practical, healthy, simple, and comfortable are a few words used to describe trends in today’s home designs. O ver the past recession-f illed years, we’ve put our home projects on hold, but now that the economic turbu-lence is calming, we’re able to focus on creating better living environments for our families and ourselves. We’ve had time to ref lect on how our homes look, feel, and function. We’re steering away from the cavernous living room that no one ever visits, the soulless dining room where no one ever eats, and the inoper-able two-story Palladian window with no real views to enjoy.

N ew old houses take a thoughtful, holistic approach to the way we live—creating spaces that are good for mind, body, soul—and the environment. N ew old rooms are comfortable spaces that connect family and friends. Q uality con-struction trumps excessive square footage, and eco-conscious principles are put into practice more and more to protect our environment as well as our health.

C reating a house based on these ideas can sound like a tall order, but with care, good planning, and a strong team in place, homes can ref lect all of these ideals. W hether you’re building new, renovat-ing an older home, or simply adding a screened porch consider bringing these words to life to create a home that works for your twenty-f irst century lifestyle.

In this issue we feature architect Peter Z immerman’s design of a Federal style house in Connecticut based on the state’s rural and cultural past. Builder T imothy H ine brought Peter’s renderings to life in a home that is handsome, well crafted, and timeless.

A rchitect Tom Bollay also looked to the past to create Casa de la Torre in Montecito, California. T he home is a breathtaking example of an authentic Spanish Colonial. Bollay took cues from an existing historical farmhouse in Spain for his inspiration. T he house is well built

and designed beautifully to take advan-tage of California’s warm climate—both protecting the interiors from the hot sun through deep eaves and white stucco exte-rior walls as well as offering courtyards and balconies to extend the living spaces outdoors.

A farmhouse in V irginia designed by Patrick Farley of Watershed Architects brings the idea of the sustainable, healthy house to a whole new level. Homeowner Morgan Bartolini wanted to create a house that f it well in its rural countryside setting. She also wanted the home to be “healthy” for her and her family. Farley and Bartolini collaborated to design a place that was eco-conscious and pushes the limits of the healthy house concept. T he home ref lects the region’s design traditions and offers a comfortable, contemporary open plan that works for Bartolini’s family.

We hope this issue of New Old House helps you get back to basics when tackling your own design projects this spring.

Nancy E. BerryEditor

Back to Basics

EDITOR’S PAGE

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OLD-HOUSE JOURNAL’S NEW OLD HOUSE (ISSN 1941-7721) is pub-lished by Home Buyer Publications and Active Interest Media Inc. The known office of publication is located at 475 Sansome Street, Suite 850, San Francisco, CA 94111. The editorial office is located at 4125 Lafayette Center Drive, Suite 100, Chantilly, VA 20151; 703-222-9411; 800-826-3893; fax: 703-222-3209. COPYRIGHT: 2011 by Cruz Bay Publishing, Inc., El Segundo, CA. This publication may not be reproduced, either in whole or part, in any form without written permission from the pub-lisher. PRINTING: RR Donnelley, Strasburg, VA. Printed in the USA.

NEW OLD HOUSEOld-House Journal’s

^

4 Old-House Journal’s New Old House

Spring | Summer 2011

8 Architect’s PrinciplesBy Russell Versaci Russell Versaci explores

the roots of the affordable

traditionally-styled home by

Royal Barry W ills.

10 D rafting Board By Jennifer SperryAdding traditionally-inspired,

energy-efficient windows to

a new old house is easier than

ever thanks to a handful of

manufacturers today.

14 D esign D etails By Laurel KornhiserInterior D esigner L inda L ewis

collaborates with 510 Spaces

to turn back the clock in her

outdated kitchen, gleaning

inspiration from her home’s

historical past.

18 Traditional Trades By Stephen T. Spewock Michael K rauss of Authentic

D esigns handcrafts Colonial-

era reproduction lighting–

perfect for N ew England’s

vernacular architecture.

22 H eirloom G ardensBy Michael WeishanMichael Weishan shares three

American gardens that inspire

his own artistry in landscape

design.

26 Style N otebookArchitect Sandra Vitzthum

shares a few of her picks for

adding well-crafted furnishings

to new old house interiors.

66 D esign C hallenge

A winning gateway development

for Chicago’s Jefferson Park.

68 Resources T he architects, builders, and

craftspeople who bring our

featured houses to life.

80 H istory L esson T he H ans H err H ouse of

Lancaster County, Pennsylvania.

Contents 14

2280

Cover photo by Tom Crane.

Architect Peter Zimmerman

and builder Timothy Hine bring

a Federal farmhouse to life in

Connecticut.

p. 46p. 54p. 28

On our cover:


DRAFTING BOARD

When it comes to windows, it is possible to have it all: energy efficiency, custom-ization, longevity, aesthetics, and historic appropriateness. But because windows range in size and application, are informed by a spectrum of architectural styles, and have to contend with nature’s destructive forces and climate zones, there isn’t one clear choice in determining design and construction.

Experienced architects and contrac-tors can guide a homeowner’s decision-making; however, upfront research helps unearth personal priorities. Whether the concern is efficiency, architectural accura-cy, or environmental impact, information exchanges with industry professionals are extremely valuable.

The following topics explore exactly where technology is taking windows, and the impact on traditional craftsmanship along the way.

What’s NewThe major problem with windows and heated/cooled interior environments is thermal transference. Glass transfers heat to the outdoors like a mug wicks heat away from freshly poured coffee; likewise, the flow reverses in warm climates.

To combat energy loss, window man-ufacturers have introduced double and triple glazing. Air spaces in between the panes lend insulating properties. In gen-eral, a double configuration is at least twice as energy efficient as single glazing. Triple glazing is roughly three times as efficient, but is also thick and heavy, traits that, on the whole, eliminate it from historic or new old house consideration.

One design detail that affects both aesthetics and performance is the edge spacer, an engineered element that holds glazing layers apart. Traditionally, spac-

ers have been crafted of aluminum, but because of the metal’s conductive property, aluminum spacers transfer a fraction of the heat generated by insulation outside. In cooler temperatures, they can even lead to condensation buildup along a window’s bottom interior edge. The latest fix to these drawbacks is warm-edge spacers, designed to interrupt the heat transfer pathway at the glazing edge, improving a window’s U-factor (rate of heat loss).

On top of increased insulation, manu-facturers are now offering low-emittance (low-E) coatings, virtually invisible metal or metallic oxide layers that suppress radia-tive heat flow. The type and placement of low-E coatings depend on climate and house design. For example, a low-E coat-ing that allows for high solar gains is best for colder climates and homes that rely on passive solar heat.

Glazing and insulation are only as good as the wood sash around them. In 2003, Jeld-Wen unveiled AuraLast Wood, a trademarked system that protects against wood rot, water saturation, and termites. It treats wood completely through, unlike a dip treatment’s surface-deep protection, which can be compromised during instal-lation.

“AuraLast is colorless, odorless, water- based, and releases 96-percent fewer vola-tile organic compounds during manufac-turing than traditional treatment meth-ods,” says Jeld-Wen’s Brian Hedlund.

In PracticeThe good news for architectural enthusi-asts is that many of the latest technologies can be incorporated into traditional wood window construction. “A 200-year-old window is virtually identical to a mod-

True Value

Blending tech and tradition in new old windows. by jennifer sperry

Architect Peter Zimmerman and builder Tim Hine worked with Norwood to create the windows for this Colonial house in Connecticut.

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Old-House Journal’s New Old House 13

Sustainability—Above and Beyond

Realizing that their wood windows rely on felled trees, many

manufacturers source sustainably harvested lumber, and one

reliable measurement is the The Forest Stewardship Council

(FSC) certification. The council adheres to rigorous stan-

dards—its stamp assures the source was a responsibly managed

forest. Yet another designation is the Sustainable Forestry

Initiative (SFI) label, widely used across North America and

also accepted in the global marketplace. Window manufacturers

might reference one or both certifications.

While a wood’s origin is key, so is its manufacturing.

Norwood, a window and door manufacturer based in Canada,

uses excess scrap wood to heat 40 percent of its facility. Excess or

broken glass is immediately recycled, and sawdust is collected in

silos, compressed, and repurposed to heat the dry lumber kilns.

For homeowners interested in working with an architect

toward a LEED certification, Vitzthum points out that wood

windows are a natural and helpful inclusion. Windows with a

low-embodied energy (the total amount of energy required to

manufacture) and that are locally or regionally produced are

beneficial for application.

In response to concerns over traditionally crafted wood

windows and high cost, the architect makes an important point:

“Instead of importing costly marble from Africa, save the money

and indulge in locally made mortise-and-tenon windows. Spend

on local craftsmanship rather than exotic things from far away.

“Besides a door, which is opened and closed by hand, win-

dows are one of the most tangible and human parts of a home,”

she continues. “Putting money into their detail and quality is

deeply satisfying.” NOH

Jennifer Sperry is a freelance marketer and writer (sperrycomm.com)

based in New Bedford, Massachusetts.

For Resources, see page 68.

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12 Old-House Journal’s New Old House


ern window with two main exceptions:

weatherstripping and insulated glass,”

explains Andy K eefe of G reen Mountain

W indows, a Vermont-based manufacturer

of traditionally designed wood windows.

“ Weatherstripping can be concealed by

any crafty manufacturer concerned with

historic authenticity, and through modern

technology, windows can be built with

very thin insulated glass and still achieve

an Energy Star rating.”

For a double-glazed window, the gen-

eral rule is that insulated glass thicker than

1⁄2 " creates a modern appearance. “Your

eye is drawn more toward the glass spacer

material than the muntin and sash profil-

ing,” says Keefe. “So seeking out 1⁄2 " insu-

lated glass that yields a good energy rating

is crucial.”Noting the superior performance of

krypton gas in thinner airspaces, Keefe

explains, “ T he 1⁄2 " glass with krypton will

perform equal to or better than a window

with 3⁄4 " glass filled with krypton.”

Low-E coatings are beneficial to a

range of traditional designs. “Luckily the

technology is evolving, and there are certain

coatings with very low levels of discolor-

ation that had, in the past, limited their

use in historic properties,” says Keefe. “ We

often manufacture insulated glass windows

for buildings in historic areas with mouth-

blown restoration glass on the exterior light

and low-E glass on the interior.”

T he Woodstone company in N ew

H ampshire specializes in handcrafted win-

dows and historic replication—what head

C A D technician Jay Eshelman calls “foren-

sic engineering.” H e explains: “ We actually

go into a home and mathematically find

out what the original builder was thinking.”

Equipped with mortise-and-tenon joinery

and sashes that operate via weight and pul-

ley, Woodstone’s traditional windows not

only achieve and exceed modern standards,

they are designed to be maintained over

time, an important sustainability consid-

eration.“ T he reason we don’t do simulated

divided-light windows is because of the

maintenance issue. If a rock breaks the

glass or a seal fails, the entire sash has to

be replaced,” says Eshelman. Woodstone

uses insulating glass in true divided-

light configurations as long as aesthetic

considerations are met: “ We match the

spacer color of the insulated glass to the

color or finish of the window itself,” says

Eshelman. “ Even if you are one foot

away, it’s very difficult to see the differ-

ence between single glazing and insulated

versions.”Architect Sandra Vitzthum of Vermont

agrees that, with the right combination of

factors, windows can convincingly blend

history and efficiency. “Insulated glass

is a better technology than true divided

lights,” she concedes, joining Eshelman

in asserting that warm-edge spacers must

match a window’s final color. “I’ve used

windows with white spacers and white

painted muntins, and you really can’t tell

that there are two layers of glass.” In her

experience, insulated glass in divided-light

applications calls for muntins that are

too thick and inauthentic in appearance.

Instead, the architect pairs true divided-

light windows with an energy panel and

weatherstripping.

Vitzthum warns against paying too

much attention to a window’s energy effi-

cient technologies without also consider-

ing its surroundings. “ T he worst place for

leakage is between the window and house

frames,” she says, adding that she now per-

sonally inspects each installed window at a

job site for proper sealing.

DRAFTING BOARD

ABOVE: Jeld Wen’s Aura Last wood is a coating that

protects against rot, water saturation, and termites.

LEFT: Jay Eshelman of Woodstone Windows calls

replicating old window designs forensic engineering.

left

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: cou

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S p r i n g | S u m m e r 2 0 1 1 O l d -H o u s e Jo urn a l’s N e w O l d H o u s e 1 1

The detailing on the Norwood window designed by Zimmerman reflects classical elements, with its pediment and reed trim.


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Architect Peter Zimmerman designs a home that fits perfectly into its pastoral Connecticut setting. by mary grauerholz | photos by tom crane

Peter Zimmerman took cues from the site’s original structure to design this

new old Federal. Builder Tim Hine realized Zimmerman’s vision.


!Before Peter Z immerman began designing the clapboard house on a pastora l lane in Fa irf ield, C onnect icut , he l is-tened to his cl ients—and then he l istened to the land. T he cultura l and historica l roots of the set t ing spoke volumes to Z immerman about how he and his team would use propor-t ion, sca le, and ba lance to create the f inished home.

“ T he house needed to look as if it was absolutely in sync with the site. T he environment ta lked to us,” says Z immerman, princ ipa l of Peter Z immerman A rchitects in Berwyn, Pennsylvania. O rigina l ly Z immerman and his cl i-ents, a family with two teenaged children, intended to sa lvage what Z immerman ca l ls “an old quasi- G eorgian Federa l-style house” that occupied part of the new home’s footprint . “ My origina l incl inat ion was to save it and add on, but it wasn’t sa lvageable,” Z immerman says. “ It had been tremendously compromised over the years.”

T he new house, constructed by T imothy H ine of H ine Builders in Southport, f its seamlessly with the original vernacu-lar. T his is important, Z immerman says, especially because the original was well known in the local community. “ O ur intention was that people who know the area would see the new house and believe it was renovated and added onto,” he says. “ T he memory of the original home and property has remained.”

H e and project architect Bil l Johnson started by plac ing two centra l masses perpendicular to the street , then adding two addit ions para l lel to the street . Sma l ler addit ions were added to the side and rear, suggest ing a progression of growth over t ime. T his harks to many houses of the late 1800s and early 1900s, when homeowners “grew” their houses as they at ta ined more wea lth or had more children. Z immerman expla ins, “ We rea l ly wanted it to feel l ike it had grown organi-ca l ly on the site.”

H e succeeded, and beaut ifully. At f irst glance, it ’s dif f icult to bel ieve the stately house, with a stunning red barn in back , is new. Severa l factors create the i l lusion: l ines that perfect ly reca l l the origina l’s G eorgian-Federa l spirit , the careful deta i l and craf tsmanship, and the use of ant ique and sa lvaged mate-ria ls, including white oak f looring that possesses a very t ight gra in and what Z immerman ca l ls “that origina l pat ina that only comes with age.”

Just as the homes of Fa irf ield’s earl ier residents expanded to serve growing families, Z immerman rea l ized this home needed to serve his cl ients and their young teens. “A lthough we create houses that are clearly t ied to the past ,” he says, “they a lso have to translate to today ’s l ifestyle.” T he home accomplishes this by present ing two areas, one segueing gently into the next . T he front port ion of the home holds


Opposite, top: The bracket detailing on the stairs was hand-cut by Hine.

Opposite, bottom: The man-telpiece has integrated cabi-netry and narrow shelving on both sides. Different fire brick was used for each of the 6 fireplaces in the home.

Above: The front door’s sidelights are made of antique glass. The door hardware is reproduction unlacquered brass.

Left: The center island was inspired by the one at The Breakers in Newport, Rhode Island.


the more formal spaces: living room, dining room, study, and—on the second floor—the master bedroom suite. Porches are positioned on either side. The more relaxed areas, including the kitchen and family dining area, are toward the back, with the pantry and back stairs in between.

The interior details bolster the subtle move from formality to casual living. The front of the home has rich architectural details: crown molding, pilasters, wain-scoting, meticulous dentil work, and half-round dormer windows. Moving toward the back of the house, says Zimmerman, “many of those architectural details peel away and become more simplistic in nature.” In the fam-ily area, rooms are smaller in scale and less elaborate. Door jambs become flat, crown moldings are simpli-fied, and wainscoting is absent. “In the back, scale and massing step down on both the exterior and interior,” Zimmerman says.

Left, top: Pennsylvania bluestone was used on the front porch steps.

Left, bottom: Hine built the porch out of mahogany. All the columns are wood.


The owners both love to cook, and the kitchen, Zimmerman says, is “the hub of family living.” Light floods the room from three sides, as it does in the living room, family room, and dining area. The correct balance of light was foremost on Zimmerman’s mind from the beginning of the project and is used to best advantage, both for its pleasing visual effect and its way of expanding space. Every hallway in the house, for instance, ends in a window. “If you can bring in enough natural light, the whole space becomes transparent,” Zimmerman says. “The eye doesn’t have to readjust. Light just flows through the spaces.”

One of the most impressive of Zimmerman’s effects is in the striking staircase at the front entry that ascends to the second floor. Every detail is exquisite: a strong balus-trade, a perfectly carved flute on the railing’s turnout, and wooden brackets underneath each step. In another area of the house, on an exterior corner, is a downspout and scup-

Above: Hine sided the house in 3⁄4" beaded, clear cedar clapboard. The lead-coated copper collector boxes were built onsite.

Right, top: The stone veneer on the steps was salvaged from the original house. Right, bottom: The mahogany porch flooring was hand-sanded.



Left: Reclaimed brick pavers for the driveway were salvaged from Yankee Stadium. Reclaimed wood and antique glass were used for all the barn doors.

Above: A handmade copper cow weathervane tops the barn.

per, framed by a forma l pilaster and dent il molding—a l l the pieces assembled in a coherent manner.

T he land suggests the same gentle segue. Forma l gardens grace the front of the house; toward the back of the property are plots f i l led with herbs and cutt ing f lowers. Further back st i l l is an enormous vegetable garden, one of the owners’ favorite places.

T he property and its set t ing captured Z immerman from the incept ion of the project . As he ta lks about the gently roll-ing terra in and majest ic hardwood trees, Z immerman says that if he had not become an architect , he would be a land conservat ionist . Both his parents were ardent conservat ion-ists, and he was ra ised to bel ieve in its primary importance.

A nd in many ways, Z immerman’s work is more at the intersect ion of architecture and conservat ion than stra ight down the path of architectura l design. “ O ne might think my career is based on building; it ’s rea l ly not ,” Z immerman says. “ Most houses are built to last about 30 years. O ur structures are built to last 100 years. In 100 years, they ’l l be renovated, not torn down.” NOH

Mary Grauerholz is a freelance writer.

For Resources, see page 68. Reprinted with permission from New Old House Spring/Summer 2011. ©2011 Home Buyer Publications, Chantilly, Virginia, 800-826-3893.

www.TimHine.com203 255 5508

Southport . Connecticut

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