ARCHITECTURE
“We got involved when the plans were being drawn up,” says Falkenberg. “We massaged the floor plans to make spaces feel even bigger than they were.” A masterstroke was to use circulation space as “rooms,” so although the building is long and relatively narrow, it doesn’t feel so because there are relatively few walls and doors. Falkenberg used the same white oak flooring throughout to emphasize the continuity of spaces. An abundance of light also contributes to making the house feel open. A total of 11 skylights brings in natural light, as do large windows in spaces such as the dining area;
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THE SUMMER ISSUE
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there the wide window goes right down to the floor and looks out onto the courtyard, so this narrowest part of the house feels open. Upstairs, Falkenberg provided several places for people to move around. “We decided that, instead of larger bedrooms, we’d have the desk and work zone outside bedrooms,” he says. “A lot of clients don’t want young kids tucked away in their rooms. The study space is accessible for parenting. The den on the upstairs landing is cozy enough to feel like a separate space without being cramped.” In the Modern tradition, the house has unadorned finishes. It was designed and
constructed meticulously, to tight tolerances. Falkenberg specified “materials that could get banged up a little bit.” This was evidenced by how well the house showed during open viewings, part a recent IDS Vancouver tour, when about 500 people trooped through it.
The children’s study area upstairs is illuminated by a round skylight, designed by architect Randy Bens. Downstairs, the dining area benefits from the huge window looking onto the side courtyard.