1974. San Francisco home was renovated while respecting his DNA

In layered architectural landscape San Francisco, few projects managed to balance the inchability and modernity with a fineness of demonstrated in The studio is covered transformation Redwood. It was originally designed in 1974. year Albert Lanier – the influential modernist and husband of the famous sculptor Ruth Asa’s – the residence has already been abolished in making significance. The style of the Lanier signature, marked geometers, uniform use of red wood and sensitivity to the natural environment, positioned the home as a peaceful icon of its time. Today, thanks to the imaginative renovation, the house resumes renewed again.

Access to the study by Terpeluk’s reconstruction was neither preserved in a rigid sense nor a radical overhaul that erased all his character. Instead, the studio accepted the challenge to deal with the children’s DNA, trying not to replace him, but to extend it into a modern context. Their philosophy was simple: intervene only where it is necessary to detect the best quality home.

The spatial appearance was subtle, but was significantly revised. The rooms used to become partitions are open, allowing the light to travel freely and allow visual links that improve the feeling of space. The attitudes of the city are framed, and the internal roads are placed to create smooth flow between zones. The result is a residence that feels and more expansive and cohesive, without losing the feeling of intimacy.

One of the prominence of renewal is its material palette – tactile and imaginary interplay between the old and new ones. The center is a tree. House Original warm entodyori Redwood serve as a foundation for design. To complement and balances, Studio Terpeluk introduced birth floors Douglas Fir sources source from former piliti – nodding of sustainability. These transmission elements introduce an additional texture and live authenticity that complements the original surfaces, not to compete with them.

Otherwise, materials such as Terzazo, poured concrete and celebrated the gray marble add contrast and depth. These surfaces are balanced solid wood spaces and bringing moments of surprise through their diverse samples and finishes.

Integral until the renovation was a color research and light. Studio Terpeluk cooperated with the designer Beatrice saticciolme To create a color language developing architecture. Instead of applying color as a static covering, they developed a tinted scheme that responds to shifts in daylight, volumes and function. The more glosing shades welcome visitors at the upper level gradually that gradually fades into softer tones as one descends – a mirror from the public to the public at private.

A sculptural staircase made in blackened steel connects two levels and creates a dynamic opposition to natural forests. Anchors inside, drawing eye and strengthened home vertical.

The red-tailed exterior of the RedWoddles play a crucial role in overall experience, and landscape designer Monica Viarongo is enrolled to remagi’s external spaces with equal thought misaoom. Its design starts in the input yard. As visitors move through the property – according to private yard and downward to back to the back garden – planting scheme moves from courier and neat to wild and expressive.

New Facade Reclad, now wrapped in irregular western red cedar planks, combine the visual identity of the home. Wood is a diverse grain and tone organically afforded with landscape, allowing houses to allow graceful age, such as a natural element in its own habitat.

For more information about the house of the red-bearing or studio turpelux, visit StudioTerEkk.com.

Photography Joe Fletcher.

Caroline Williamson is the editor-in-chief of design milk. It has BFA in a photo with SCAD and can usually be found searching vintage trenches, working in the transverse words of the New York Times in the pen or processing playlists on Spotify.