See-Through House

Hank Koning, FAIA, and Julie Eizenberg, FAIA, of Koning Eizenberg Architecture eschew grand theories and expressive modes of design. The façade of the 3,100-square-foot house they designed on 12th Street in Santa Monica, Calif., is, according to Eizenberg, “just the outline of what you could build according to zoning and setback requirements.” That the white stucco face, etched against the California sky, recalls a barn in a manner that evokes the open, rough-hewn character of the house’s interior, while alluding to and abstracting the various gambrels and gables of the eclectic group of its surrounding houses, is, she says, a fortuitous accident.

Koning Eizenberg Architecture的Hank Koning,FAIA和FAIA的Julie Eizenberg避開了宏大的理論和富有表現力的設計模式。根據Eizenberg的說法,他們在加利福尼亞州聖莫尼卡的第12街設計的3,100平方英尺的房子的外牆,“只是根據分區和挫折要求可以建造什麼的輪廓。”白色的灰泥面孔她說,蝕刻在加利福尼亞的天空,回憶起一個穀倉的方式,喚起房子內部的開放,粗糙的特徵,同時暗指和抽像其周圍房屋的不拘一格的各種g and和山牆。一場偶然的意外。

Project details
Project name:See-Through House
Location:Santa Monica , Calif.
Architect:Koning Eizenberg Architecture
Project types:Single Family
Project scope:New Construction , Interiors
Sizeㄤ3,900 sq. feet
Shared by:deane madsen , hanley wood, llc
Structural Engineer: Parker Resnick Structural Engineering, General Contractor: William Kent Development, Landscape Architect: Kathleen Ferguson Landscapes, Lighting Designer: Oculus Light Studio, Becker & Miyamoto, Geotechnical Engineer: Ralph Stone and Co.
Project status:Built
Room or space:
Kitchen , Living Room , Outdoor , Bedroom , Exteriors

建築師:Koning Eizenberg Architecture
分享者:deane madsen,hanley wood,llc
結構工程師:Parker Resnick結構工程,總承包商:William Kent開發,景觀設計師:Kathleen Ferguson景觀,燈光設計師:Oculus Light Studio,Becker&Miyamoto,岩土工程師:Ralph Stone and Co.

The clients wanted something more than the one-story Spanish Colonial Revival bungalow they owned around the corner, and less than the McMansions that are rapidly replacing similar neighborhood structures. The wife grew up in a traditional Quaker home in Philadelphia, the husband in a Los Angeles midcentury modern house. They wanted, according to the wife, “something simple, not too large nor too cold; a place where I could always feel part of the family even if we’re all off on our own.”


Eizenberg and Koning’s solution was to make the house appear as a single, unified mass, cladding its sides with shingle shakes that will weather in time. The open-plan ground level includes a living area with a heated concrete floor and plain plaster walls.
This room runs the full length of the house to the rear garden and steals “borrowed views,” as Eizenberg calls them, through windows shaded and sheltered from the street with movable panels of ipe wood slats. Past a kitchen island and a counter suspended in a bay window, the space opens to the rear. To either side of the living room, the architects added “saddlebags,” (borrowing Charles Moore’s term) that contain a study and TV room to the south and an entry, toilet, and pantry to the north. Both the staircase to the upper floor and the front of the kitchen island are covered with pegboard, which Eizenberg imagines may host either art or creations by the clients’ children.


Upstairs, the three children’s rooms line up to the south of a high, skylit corridor and gathering space, leaving the north side for one shared bathroom and a utility space. The master suite takes up the floor’s west side, gaining views over the street and beyond. A guest suite occupies the space above a garage at the back of the rear yard.


Modesty and simplicity guide the house’s design, from the arrangement of rooms to finishes and straightforward detailing. The house is familiar in its shapes, modern and functional in its forms, and comfortable in its materials. “I never bought that styles, whether modern or historical, had an ethical value,” Eizenberg says. “We just want to build what works. This is a house where we would want to live.”

謙虛和簡約指導了房屋的設計,從房間的佈置到裝修和簡單的細節。這座房子的形狀很熟悉,形狀現代,功能齊全,材料舒適。 Eizenberg說:“我從未購買過現代或歷史風格,具有道德價值。” “我們只想建立有效的方法。這是我們想住的房子。“


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