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NEW OLD HOUSE Old-House Journal’s

Building Character in Today’s Homes

Back to Basics

Simple Porch Appeal Healthy-House Design Classic Federal Farmhouse




Contents 28 Fairfield Federal

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

36 Casa de la Torre

By Janice Randall Rohlf Architect Thomas Bollay meticulously crafts an authentic Spanish Colonial house in California’s Montecito foothills.

Spring | Summer 2011

46 Gulf Coast Simple

By Susan Nettleton A renovated French Creole cottage in Florida offers the best of relaxed, pared down living.

54 Healthy Farmhouse

By N ancy E. Berry Patrick 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.

Old-House Journal’s New Old House 3




Back to Basics

s t n e t n Co

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-filled By Michael Weish years, we’ve put our home projects on saci turbuVereconomic ell the ussthat hold, B but now yR ic h a e l W e is h a M s p lo re exfocus c i to lence R is u calming, on e rsaable sse ll Vwe’re m e ri c a n ga rd e A le creating better living environments for b a a ff o rd o f th e We’ve o tsourselves. o w n a rt is tr y th e roand is h our families had e b y hom le d look, -s tyhomes a ll your time to it ioonnhow a dlect trref d esi g n . . feel, and function. We’re steering away ls R o y a l B a rr y W il from the cavernous living room that no one ever visits, the soulless dining room where no one ever eats, and the inoperrc h it e c t Sa n d r A able two-story Palladian perrywith no er Swindow if n en a few o f J s y B re a sh real views to enjoy. , d e n a ll y -i nsp ir d itaiothoughtful, g tr atake w e ll -c ra g in N ew A doldd inhouses d d a in d o ws to n twewlive— holistic eapproach to ff the way ic ie o ld h ou w n e rgy -e e n to n a creating spaces that arehgood e as ie r th o useforismind, ld o w e n a body, soul—and the environment. N ewfu l o f d a h a nthat a n ks to spaces old rooms comfortable r th ev eare y. to d aconconnect family tu re rsQ uality fa cfriends. g ga te uand n n inadvana m A wtointake struction trumps excessive square footage, and designed beautifully C h ic ago ’s J fo r climate—both and eco-conscious principles are put into tage of C alifornia’s warm practice more and more to protect our protecting the interiors from the hot sun environment as well aslour health. through deep eaves and white stucco extenhiser Kor re u a L y B C reating a house based on theser ideas e w isas well as offering courtyardsc t a Lwalls L in drior e care, D esibutg nwith o rorder, h it e tearitall a rcspaces eliving can soundIn like h and balconies to extendTthe s e c a p h 51in0 Soutdoors. s w itteam good planning, o raatestrong sp e o p le w c o ll a band ft ra c r e h place, homes can ref lectaall these by us lo c k in A farmhouse in V irginiatudesigned e cideals. kof th c b o h rn d tu re to a fe W hether you’re building new, renovat- a n Patrick Farley of Watershed A rchitects g in le g , n a brings the idea of the sustainable, healthy it c h eadding d ksimply a teor ing an older home, o u td o m eto’s a whole new level. H omeowner r h house e h m screened porch consider bringing these o fr n o ti a ir sp in words to life to create a home t. that works Morgan Bartolini wanted to create a house a l p aslifestyle. h is to ri ccentury a ns H for your twenty-first that fit well in its rural countryside T h e Hsetting. In this issue we feature architect Peter She also wanted the home to be “healthy” L a ncast er C o Z immerman’s design of a Federal style for her and her family. Farley and Bartolini house in C onnecticut based on the ew state’s ock collaborated to design a place that was p S . T en h p te By S past. Builder T imothy rural and cultural eco-conscious and pushes the limits of the c ti n e th u A f o ss u H ine brought l K ra to life in healthy house concept. T he home ref lects ic h a erenderings MPeter’s n ia l-design traditions and offers a o loregion’s a home that is handsome, h well d c ra ftands Cthe a ncrafted, s n g si e D timeless. comfortable, n g– contemporary open plan that ti h g li n o ti c u d ro p re Bollay also looked works for Bartolini’s family. A rchitect e raTom E n g la n dWe’s hope this issue of New Old House to the past ptoe rf create asar de N elawTorre e c t Cfo in Montecito, C alifornia. T he home re . you get back to basics when tackling h it eisc tuhelps rc a r la u c a rn e v a breathtaking example of an authentic your own design projects this spring. Spanish C olonial. Bollay took cues from an existing historical farmhouse in Spain Nancy E. Berry for his inspiration. T he house is well built Editor

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On our cover:


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Crane. Cover photo by Tom merman Architect Peter Zim y Hine bring and builder Timoth to life in a Federal farmhouse Connecticut.

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6 Old-House Journal’s New Old House


True Value Blending tech and tradition in new old windows. by jennifer sperry When it comes to windows, it is possible to have it all: energy efficiency, customization, 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 contractors can guide a homeowner’s decisionmaking; however, upfront research helps unearth personal priorities. Whether the concern is efficiency, architectural accuracy, 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.

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

What’s New The 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 manufacturers have introduced double and triple glazing. Air spaces in between the panes lend insulating properties. In general, 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, manufacturers are now offering low-emittance (low-E) coatings, virtually invisible metal or metallic oxide layers that suppress radiative heat flow. The type and placement of low-E coatings depend on climate and house design. For example, a low-E coating that allows for high solar gains is best for colder climates and homes that rely on passive solar heat.

10 Old-House Journal’s New Old House

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y es, man yond felled tre one and Be s rely on lumber, and Above window ed uncil ability— Sustain that their wood inably harvest ewardship Co nsta St g orous sta Realizin rers source su e The Forest s to rig tu th aged manufac easurement is council adhere sponsibly man m e restry a re on. Th reliable ce was able Fo and certificati assures the sour is the Sustain (FSC) America rs p n natio North re its stam dards— t another desig ly used across dow manufactu in Ye el, wide lace. W forest. g. (SFI) lab l marketp ations. ufacturin Initiative ed in the globa fic its man Canada, th certi pt is bo ce so ac or o e in y, als on n is ke acturer based Excess or ference ’s origi uf might re a wood or man nt of its facility. cted in e do d hil an W perce is colle ns. ndow heat 40 sawdust od, a wi Norwo wood to recycled, and e dry lumber kil ect ss scrap th ely an archit uses exce ss is immediat rposed to heat ing with pu gla wood broken pressed, and re ested in work ints out that a m ers inter , Vitzthum po Windows with silos, co wn eo m . on d to For ho certificati helpful inclusion ergy require ED en are d a LE ount of lly produced tural an toward am na a tal e to s are giona window died energy (th locally or re bo wood are low-em re) and that crafted int: tu ionally manufac for application. ns over tradit an important po ey er es ial nc mon ak fic co m ne t to be ec save the onse the archit from Africa, Spend s. In resp st, co ow d high y marble and-tenon wind far away. an s stl co ow em wind rting e mortis of impo things fro hand, win“Instead e in locally mad r than exotic by he me,” ulg d closed and ind anship rat is opened an an parts of a ho is craftsm quality , which d hum on local s a door ost tangible an eir detail and de esi “B of the m money into th e on dows are es. “Putting m) inu she cont isfying.” NOH iter (sperr r and wr deeply sat markete freelance usetts. a is y ach Sperr Jennifer w Bedford, Mass Ne based in page 68. rces, see sou Re r Fo

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u ar e ren if yo th e di ffe an . “ Ev ffi cu lt to se e d Eshe lm di d insul ate . “ W e away, it’s ve ry gle gla zing an s Keefe sin say n s ee s,” ow t tw nd ertie Vermon en ce be ric prop ulated glass wi of to m his hu s.” outh use in on of ra Vi tzt ture ins ve rsi on with m mbinati nd ct Sa nd pt ions: manufac historic areas ior light Arch ite th th e right co ble ain exce ass,” often in the exter wi two m gl inc ingly glass ildings glass on ior.” es that, n conv re su lat ed nt ain for bu ca ow with ion ed ag in s nd rat lat d ow wi to res “Insu er n wi nd g an e inter N ew d M ou G reen fac tors, str ipp in ici en cy. an true divide r blown -E glass on th compa ny in an d eff we ath er ndy K eefe of d m anuf ac tu re wi nlow th an ne crafted ad histo ry Eshelm s. and he W oodsto sA hnology in hand expla in , a Vermont-base od wi ndow T t he tter tec edes, joi ni ng wo ecial izes ers mus is a be —what W indows all y desig ned pshire sp ric replication lls “forenea led by sh e conc rm -edge spac ed nc am s,” us H co ht ve wa ca ion be lig “I’ d with dows and histo helman ally of tradit str ipping ca n ting that ’s final color. wh ite conc er ne W e actu an Jay Es in asser er ers and ac tu rer rough moder n plains: “ cally find wi ndow techn ici “ W eath ac l uf ex a D sp e tel A an h H C m y th ati g.” matc wh ite ally ca n’t any cr aft thentic ity, and be bu ilt with sic engineerin e and mathem th ink ing.” s wi th d you re ss. ” In her n m wi ndow au was tins, an ows ca d sti ll ac hieve go into a ho historic l builder joi nery pa inted mun ers of gla ided- light an gy, wi nd two lay e or igi na e-and- tenon e div th ar lat in e tec hnolo insu lated glass pu ss wh er tis d t gla or an at ar e that th in n- ou wi th m weigh t insula ted m un tins th very th rat ing.” , the ge e. uipped erate via wi ndows not experience, fo r peara nc rg y St ar glazed wi ndow er than Eq al s that op s, ns ca lls an E ne ic in ap th ick ubleand sashe tone’s tradit ion er n standard dividedappl ica tio and inaut hent e For a do insulated glass nce. “Your od ds tru m er oo irs ov ed d ley, W peara is that and exce be main tai ned id- too th ick e arc hitec t pa ergy pa nel an eral rule s a moder n ap the glass spacer on ly achieve cons d to stead, th s wi th an en ity ne In rd bil sig ilof de wa 1 ⁄2 " create ina e to are h pr ndow susta too and sas 1 insu- they awn mor light wi portant paying ing. eye is dr an the mun tin e, an im ul ated weath erstripp against out ⁄2 " eff itim s y sim rn ing th erg l do ek wa ing m y rat do n’t th e ow’s en materia Keefe. “So se rVi tzt hu eration. od energ s aso n we to a wi nd t also conside ca use of en tion ing,” say that yields a go “ T he re wi ndows is be br ea ks th e r ss much att ologies wi thou worst place fo of rock light lated gla rmance divided- ce issue . If a tir e sash has to cient techn gs. “ T he d house l.” r perfo Keefe ne e en rroundin the wi ndow an w persuperio ten an is crucia to es, th su e ds ain ac th ls, its m sp oo fai W air ing ll N ot ing between at she no at a or a seal ys Eshe lm an . ed th inner th krypton wi th is ss g vid in ge di gla din s ka sa ga wi tru e c lea es, ” she says, ad instal led wi ndow wi ndow be repl ac ed ,” krypton T he 1 ⁄2 " glass gl ass in aesth eti r than a fram , “ each lo ng as su lat in g or bette ton.” explains h th e sonally inspects seali ng. uses in igu ra tio ns as equal to e m atc er kryp to a co nf perform ss fil led wi th m et: “ W glass to th e job site for prop 20 11 beneficial 3 gla mm er e light ra tio ns ar e d ate g | Su ys ul wi th ⁄4 " E coatings are . “L uckily th sa ide ins ns ,” Sp rin in co r of th e wi ndow itself signs lo Lowrta de co ce al er e are tradition d there - spac or fin ish of th of an lor , ge co ing dis ran r gy is evolv levels of d their co lo technolo th very low ite past, lim s wi coating in the at had, use ation th Old Ho


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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 installation. “AuraLast is colorless, odorless, waterbased, and releases 96-percent fewer volatile organic compounds during manufacturing than traditional treatment methods,” says Jeld-Wen’s Brian Hedlund.


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

S p ri 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

!"#$%#&'()!&(&$"') 28 Old-House Journal’s New Old House

Spring | Summer 2011

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

Spring | Summer 2011

Peter Zimmerman took cues from the site’s original structure to design this new old Federal. Builder Tim Hine realized Zimmerman’s vision.

Old-House Journal’s New Old House 29


Before Peter Z immerman began designing the clapboard house on a pastoral lane in Fairfield, C onnecticut, he listened to his clients—and then he listened to the land. T he cultural and historical roots of the setting spoke volumes to Z immerman about how he and his team would use proportion, scale, and balance to create the finished home. “ T he house needed to look as if it was absolutely in sync with the site. T he environment talked to us,” says Z immerman, principal of Peter Z immerman A rchitects in Berwyn, Pennsylvania. O riginally Z immerman and his clients, a family with two teenaged children, intended to salvage what Z immerman calls “an old quasi- G eorgian Federal-style house” that occupied part of the new home’s footprint. “ M y original inclination was to save it and add on, but it wasn’t salvageable,” 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, fits seamlessly with the original vernacular. 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 Bill Johnson started by placing two central masses perpendicular to the street, then adding two additions parallel to the street. Smaller additions were added to the side and rear, suggesting a progression of growth over time. T his harks to many houses of the late 1800s and early 1900s, when homeowners “grew” their houses as they attained more wealth or had more children. Z immerman explains, “ We really wanted it to feel like it had grown organically on the site.” H e succeeded, and beautifully. At first glance, it’s difficult to believe the stately house, with a stunning red barn in back, is new. Several factors create the illusion: lines that perfectly recall the original’s G eorgian- Federal spirit, the careful detail and craftsmanship, and the use of antique and salvaged materials, including white oak f looring that possesses a very tight grain and what Z immerman calls “that original patina that only comes with age.” Just as the homes of Fairfield’s earlier residents expanded to serve growing families, Z immerman realized this home needed to serve his clients and their young teens. “A lthough we create houses that are clearly tied to the past,” he says, “they also have to translate to today’s lifestyle.” T he home accomplishes this by presenting two areas, one segueing gently into the next. T he front portion of the home holds

30 Old-House Journal’s New Old House

Spring | Summer 2011

Opposite, top: The bracket detailing on the stairs was hand-cut by Hine. Opposite, bottom: The mantelpiece has integrated cabinetry 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.

Spring | Summer 2011

Old-House Journal’s New Old House 31

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 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, wainscoting, 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 family area, rooms are smaller in scale and less elaborate. Door jambs become flat, crown moldings are simplified, and wainscoting is absent. “In the back, scale and massing step down on both the exterior and interior,” Zimmerman says. 32 Old-House Journal’s New Old House

Spring | Summer 2011

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.

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 balustrade, 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 scupSpring | Summer 2011

Old-House Journal’s New Old House 33

34 Old-House Journal’s New Old House

Spring | Summer 2011

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 formal pilaster and dentil molding—all the pieces assembled in a coherent manner. T he land suggests the same gentle segue. Formal gardens grace the front of the house; toward the back of the property are plots filled with herbs and cutting f lowers. Further back still is an enormous vegetable garden, one of the owners’ favorite places. T he property and its setting captured Z immerman from the inception of the project. As he talks about the gently rolling terrain and majestic hardwood trees, Z immerman says that if he had not become an architect, he would be a land conservationist. Both his parents were ardent conservationists, and he was raised to believe in its primary importance. A nd in many ways, Z immerman’s work is more at the intersection of architecture and conservation than straight down the path of architectural design. “ O ne might think my career is based on building; it’s really not,” Z immerman says. “ M ost houses are built to last about 30 years. O ur structures are built to last 100 years. I n 100 years, they’ll 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. Spring | Summer 2011

Old-House Journal’s New Old House 35 203 255 5508 Southport . Connecticut

Hine Feature Article  

Tim Hine - New Old House - Fairfield Federal Feature

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