I recently was asked a question from a person in Philadelphia about how to deal with a very high ceiling in a living room. Here’s the question:

  My nineteen-eighties condo has a 19′ ceiling in the living room that merges with the dining area where the ceiling drops to eight feet. The 19′ fireplace wall is in the corner. Is there any way to make the scale of this 19′ tall room more human? I have purchased numerous original oil paintings that go almost to the ceiling on the wall opposite the French doors. I’m beginning to question this technique. I feel there is so much wasted space that I wanted to make it interesting rather than just filled with air.

Here’s my answer:

Your dilemma with the high ceiling is one that we often face when there is a second floor overlook or balcony into a living room or great room. I can see that you have an appreciation for this problem already.

This is not a new problem. Back in the days before air conditioning in houses, the ceilings in high end houses were often quite high to keep the room cooler in summer. Check out the George Read house on The Strand in New Castle, Delaware for an example. Hot air rises, after all. So they had to deal with this same issue. The solution you will sometimes see is to add a cornice type of moulding part way up the wall, maybe at the 9′ or 10′ level, paint the wall color up to that and then paint the ceiling color on the upper portion of the wall as well as on the ceiling. This would be a trick of the eye that would give the impression of a lower room because your eye and brain would tend to only perceive the color portion of the wall while the ceiling color portion would sort of vanish into the ceiling itself. This trick actually works.

On one house I designed we had to have a two story room because the owners wanted a music loft to overlook the room below. But we also wanted to control the visual height of the room. The room was about 20′ tall with windows on one wall toward the view. I designed an oversized cornice, kind of like a big mantel shelf, that I ran all the way around the room. It projected out from the wall maybe ten inches and was about fourteen inches tall. It was like a very big plate rail. I placed it about thirteen feet above the floor. The wall below the cornice was painted a color, not white. The wall above the cornice was painted a much lighter version of the wall color. Then there was another crown moulding where the wall met the ceiling. The ceiling was given more color to help bring it down. This worked pretty well. The cornice added a strong horizontal line that helped elongate the room. It’s sort of the same principle that applies when you wear horizontal striped clothing. It makes you look wider and shorter, although that’s not an effect most of us want.

 The whole idea is to give your eye a place to stop at the height you select. Although I can’t think of an example off the top of my head of a ready example, I’m sure you can walk around Philadelphia, or any other city, and see a number of buildings that have a cornice line up a story or two, visually defining a height that relates to the people on the street. But then the building continues up many more stories. This is the same principle being used to control the visual height.

I find that fewer and fewer of my clients want the really tall ceilings. Once they have lived with them, they see the down side. If a tall ceilinged room opens to the second floor, sound transmission can be another problem with sounds reflecting off the walls and echoing from one floor to another. Today’s trend seems to be a return to more human scaled rooms.

Bill Hirsch

www.williamhirsch.com

www.designingyourperfecthouse.com

    Now is a great time to build! Builders are hungry, prices of many construction materials are low, and the vendors are making deals to get business. If you have the resources, don’t wait. Build now and capture the savings. Right now, Warren Buffett is buying U.S. stocks because he sees them as a low-priced opportunity. Construction costs represent the very same opportunity. You can cash in big time if you act now. 

    I got a note from a prospective client recently asking for my advice on what construction costs might be for a new house. They were in the early stages of planning and wanted to get an idea of how much their new house might cost. Here is my answer:

    I have recently had a house price out at $170 per foot and another as high as $275 per s.f. There are a lot of variable that can affect the cost, as you can imagine. The formula I use is to include all of the “heated” square feet. I do not count the garage and/or porches. This formula is sort of the industry standard. For budgeting purposes, I would suggest using $200 per s.f. as the low end and $250 as the higher end. Of course, it is possible to go considerably higher. The variability of cost is due to different exterior materials, the shape of the house, the appointments within the house, and the site considerations. But above $250 per s.f., the added cost is attributed to particular items, like very expensive cabinetry or particular site conditions, and things like that. It’s hard to get more definitive than that until the house is designed and those numerous variables are known.

    My suggestion for calculating your square footage is to list out the rooms and spaces you want, including staircases, closets and hallways, if you can. Then assign target sizes to those spaces. It can help to use your current house and its rooms as guidelines for the target room sizes. Then multiply out the areas of each room, total it up, and then add ten or fifteen percent to the total. That added percentage is to account for the area used up by the walls themselves. Three running feet of a typical interior wall takes up one square foot! And the percentage accounts for inefficiencies in the actual house layout. Not every room will end up exactly at the target size. Then multiply the total by $200 and also by $250. That should give you a high and low number and a feel for where your construction cost will be.

    Incidentally, when stating these costs of construction, I am including all of the sitework, like landscaping, driveway, irrigation, etc. These costs estimates also anticipate a three car garage, a front porch, a screened porch, and things like that. The figures also include all permits and inspection fees. They include everything that would be in you contract with the builder.

    I will say that right now is a terrific time to build because the marketplace is hungry and prices are good. Lumber is very low, vendors are anxious to make deals, and even the builders are trimming their markup to get projects signed up. I think that in a couple of years we will look back at today and say, “Wasn’t that a great time to build? Everything was such a bargain.” Once the economy improves, the prices will surely go up quickly. Now that oil prices are going back down, some of the materials that went up due to the very high oil prices, like shingles, will likely go down sometime soon because of the slowdown in demand for construction products.

    Take advantage of this Golden Opportunity to get your dream house built at a price you will never see again. The woes of Wall Street can be a bonanza for you.

Bill Hirsch

www.designingyourperfecthouse.com

www.williamhirsch.com

    Garage doors are often one of the ugliest features on the exterior of a house. There are now quite a few “carriage house” type doors to choose from that look much better than the traditional flat or raised panel doors. But those special doors come at a significant cost increase. There are other solutions you might want to consider.

    Garage doors are often an unsightly feature simply because of their scale. We human beings tend to prefer objects that are an appropriate size or scale to our own size. The doors and windows of your house will be most appealing when they are size-appropriate to the people who will occupy the house. They will “express” an interaction with other people. On a subconscious level, we can emotionally connect with architectural features like that. Garage doors must, by their very nature, be sized and scaled to the automobiles that must pass through them. Garage doors end up being the largest doors on your house. We find them unattractive for that very reason.

    Being true to his sardonic nature, Frank Lloyd Wright once said, “Doctors can bury their mistakes. Architects can only plant vines.” It’s a clever line, but vines can serve a greater purpose for architects than simply camouflaging errors. They can be useful elements that can be integrated into the architecture. Here is an example of vines used to soften the visual impact of three, blank garage doors in an otherwise featureless portion of a house.

Pergola with Vines above Garage Doors

    Make sure the bathroom tiles you select come with the special shapes you’ll need to create a complete, quality installation.

    Most people don’t think about how their bathroom tile will be installed. They make their selections based on the color and style of the tile and what decorative tiles or accents are available and compatible with the primary tile. But not all tiles are available with bull-nosed edges or other special shapes you may need.

    A bull-nose edge is a slightly rounded over edge that has the finished surface of the tile wrapping all the way around the edge so that when it is adhered to the wall, nothing but a finished surface will be seen. Bull-nosed tiles are also needed when the tile must wrap around a corner, such as on a tub deck where the vertical front surface meets the horizontal top surface. Many tiles do not come with this accessory. In those cases, the edge of the tile will appear unfinished and possibly rough when installed. Some tiles, like porcelain tiles, can be rounded over and ground to be smooth by the tilesetter. This will prevent the tile from having rough edges, but many times the color of the body of the tile is not the same as the finished surface. In other words, the color you see on top does not run all the way though the tile. Other tiles, like ceramic tiles, can not be properly ground down to make a rough edge no matter how skillful your tilesetter may be.

    Depending on your particular installation, you may also need tiles that are finished on two edges to form an outside corner. Another problem presented by some tiles is when the tile can not be cut smoothly. On a recent project, we ended up with tiles where the finished surface tended to chip off when cut, no matter what method of cutting the tilesetter tried. Even when he ground down the edge, the rough, chipped edge still showed.

    I would suggest that you discuss the tile installation with your builder and the tile setter before you finalize you tile choice, just to be sure the final installation will match your expectations.

Bill Hirsch

www.designingyourperfecthouse.com

www.williamhirsch.com

    It’s almost impossible to discuss composition and architectural proportion without referring to the golden mean, also called the golden section. Readers of Dan Brown’s mega-bestseller The Da Vinci Code may recall the description of that formula in the book. As a brief refresher, the golden mean is the original organizing and proportioning method or formula for art and architecture. Its theory tells us that human beings are most pleased when things are in a proportion of 1 to 1.618. In other words, if a window is one unit wide, it should be 1.618 units tall in order to be the most appealing to human eyes. The golden mean was used prominently in Greek and Roman architecture and is just as useful in today’s world. Indeed, the same ratio that was applied to the design of the Parthenon is likely to aid your architect in the design of your new home.

    The golden mean offers a comfortable proportion with which to work, but it’s not the only comfortable proportion, so you don’t have to feel locked into it. The intriguing thing about the golden mean, about placing things at this scale, is that it just about always works. Consider it a safety net for proportions.

     A bit of architectural trivia: A classic and pervasive curved shape used to this day in crown moldings, wood trims, and other architectural details is the “ogee” curve. The “ogee” is a direct derivative of the golden mean. This curve originates with the Greeks and shows up in the columns we place on our front porches, crown moldings we place in our living rooms, and even the curves that are shaped into the aluminum gutters outside our houses. Who knew that ancient Greek classical design would eventually create aluminum gutters?

Bill Hirsch

www.designingyourperfecthouse.com

www.williamhirsch.com

    In homebuilding, picking out the right materials can be a little tricky.

    I talked yesterday about the value of painting out larger samples of your wall and trim paint selections to verify that the colors were right. The same principles applies to the other materials you plan to use. Don’t pick bricks from a photo or even from a brick sample card with several thin bricks on it. Without mortar, the bricks will look different than they will on your house. Stone is even tougher. I can’t imagine being confident in a stone selection from a handful of loose stones. Stones come in a very wide range of colors, textures, and sizes. And there is no good way to describe stone in words. Photos of other walls help, but you need to be sure your builder can reproduce the wall you want.

    Insist that your builder construct a sample wall where you can see the “real” finished product.

Homebuilding Stone Samples

    In this photo, the stone mason has laid up three sample panels with several mortar joint options. You cans see two of them in this closer view.

Mortar Joints in a Stone Wall

    The top joint is called a “raked” joint. The mortar has been scraped back to let the edges of the stones show more. The lower joint is a brushed joint where the mortar is flush with the face of the stone and brushed somewhat smooth with a bristle brush. You can see that the effects are remarkably different.

    Simply picking the brick or stone for your house is not enough information for you to give your builder. It leaves too much to the imagination. You need to decide upon the color of the mortar, the way the mortar is “struck” or “tooled,” and you need to be sure you, your architect, the builder, and the mason all have the same image in mind for the final wall. The only sure-fire way to do this is to lay up a sample wall and create a physical sample. If the first samples don’t capture the look you want, pull it down and try again. The small cost of doing this will save you thousands in unnecessary cost, not to mention the aggravation and angst of getting the wall wrong.

Bill Hirsch

www.designingyourperfecthouse.com

www.williamhirsch.com

    When designing your home, it is nearly impossible to make a reasonable judgment about colors of materials for your new house by simply looking at tiny color chips or samples. They will fool your eye every time.

    If you don’t believe me, try this little test. Go to the paint store, or your local Home Depot, and pick up a few color chips of paint. Be sure to get two of each color. When you get home, cut out the colors so that no white edges show. All you should have left is is small piece of paper with the color on it. Then place one of the chips on a white piece of paper and the other chip on some other color paper. Stand back and look at them. Do the colors look the same? I’ll bet they don’t.

    Color is influenced by its context. If you try to make your color selections standing in the paint store and you only look at the color as it’s shown on the sample card, which likely will have a white background, you may miss the subtle hues, only to notice them later when the entire house is painted and changing the color will cost you plenty.

    And speaking of hues, there is really no such thing as white. There are many colors of white. I know that sounds silly. After all, white is a color we can all identify. But actually there are many whites, each with its own unique underlying tone. A true white would be something along the lines of “copy paper” white, but even that may have a bluish cast when held up against a white with an underlying hint of yellow. There are “pinkish” whites, “greyish” whites, very, very pale yellows, and many more.

    You will have trouble seeing these nuances in a tiny paint chip. It is necessary to paint a larger sample wall to really see what subtle hues each white contains. So buy a can of the white you are considering and paint it on a wall. Let the paint dry before evaluating it and look at it on a sunny day, a cloudy day, and under artificial light. Chances are it will appear somewhat different in each condition.

    Most paint manufacturers group their paints in a way that will give you clues as to which “white” will go with which wall color. Let’s suppose you selected a Sherwin Williams color for the siding of your new house and it was “SW 6003, Proper Gray.” Then you were looking for the right white for the trim. How would you know which of the twenty-some whites they offer would go best with your siding color? In this case, you should select “SW 6000, Snowfall.” That’s because it is in the same color family as the siding color you already selected. In fact, all of the colors from SW 6000 through SW 6006, Black Bean, are in the same family. They all contain the same colors, but in varying intensities. So you can be certain they will go together. Another white, like SW 6049 Gorgeous White, might look just fine in a small sample. But when the trim was painted, it’s underlying brownish hue would show through and it would clash with the cooler gray of your SW 6003 siding.

    Dark colors can be just as tricky. Suppose you wanted a dark Green or a dark Burgundy for your shutters. You might be inclined to pick a color that looks nice and dark in the small chip. But I’ll warn you that when your shutters are painted and you stand back from them, your dark green will mysteriously morph into Kelly Green and your very ark Burgundy will look a lot more like a Red Zinfandel. Dark colors will look lighter in larger areas and when placed on darker backgrounds. So to get the truly dark Green or Burgundy, select one that looks nearly black in the paint chip. Then, paint out a larger area just to be sure.

    For the cost of a few cans of paint, you can avoid the costly mistake of having to repaint your entire house after the color gremlins change what you thought picked into something you never intended.

Bill Hirsch

www.designingyourperfecthouse.com

www.williamhirsch.com

    In a high-end community where I have designed nearly one hundred houses, there are fairly strict house design guidelines. Covenants and restrictions are a necessary element in maintaining a level of quality, and thus, maintaining property values. No one is happy if a lime green house ends up next door. Design restrictions offer some limits, and as Martha Stewart says, that is a good thing.

    But some restrictions can go too far. One rule this community has is that every house must have a clearly displayed house number. That, in and of itself, is fine. Emergency vehicles need to be able to find the correct house, so I have no objection to that. But our Architectural Review Board has gone further and determined that only one style of house number is permitted. It is a bronze, somewhat traditional plaque with only one available font for the numerals.

    My objection has always been that the style of the house numbers should be compatible with the style of the house. A contemporary house would look odd with colonial numbers and vice versa. Today, the Chicago Tribune has an article on exactly this issue. It’s entitled Your house, by the numbers and was written by Mary G. Pepitone.

    I could not have expressed it better myself.

Bill Hirsch

www.designingyourperfecthouse.com

www.williamhirsch.com

    By now, we are all familiar with the term, McMansion. Last year, work took me to Sedona, Arizona. While there, my clients escorted my wife and I on a tour of the local sights. Sedona is wonderfully beautiful. It is home of some of the most spectacular rock formations in the world. Many movies have been shot there and the existentialists gather frequently to experience the vortexes. I have to admit to a large amount of skepticism on those vortexes. Or is it vortecii? It’s been long time since high school Latin.

    One of our stops on the tour was the Chapel of the Holy Cross

Chapel of the Holy Cross, Sedona, Arizona

     You can see how this interesting piece of architecture is designed to be integral to the rocks. It’s simplicity of form is inspiring. The architecture is minimal making its impact grand.

    But when you stand next to the Chapel of the Holy Cross and look out to the distant rock formations, this is what you see.

A McMansion in Sedona, Arizona

    Yes, it is the poster child for McMansions. Were they trying to mimic the rock formation? I just find this to be inexplicable. By the way, the dome in the center is an observatory that opens to let you view the night sky. But I might be wrong on that. It could actually be a vortex catcher!

    I’ll file this one away in the “more dollars than sense” department.

Bill Hirsch

www.designingyourperfecthouse.com

www.williamhirsch.com

    Here is the answer to yesterday’s Dream House Fumble question. I asked if you saw what was wrong with the brickwork. Here’s the photo, again, just to refresh your memory.

Dream House Fumble #3

    Does the brick look “glued on” to you? It does to me. Brick is a heavy, solid material that is the actual structure of thousands and thousands of buildings that date back to the Romans. It is a material that should express its strength and it should not be used as a “detail” material or a wall facing, like vinyl siding.

    In this house, the item that really caught my eye and drove me to snap this picture and show it to you is the “key”, or “keystone” at the top of the half-round. A key is the wedge shaped block at the 12:00 o’clock position. Originally, in masonry arches, the key was the last stone set. It secured the arch structurally, making it capable of supporting considerable loads across an open span. In classic detailing, the key in an arch often was mimicked when the arch was built of wood. It retained it’s psychological quality of “locking” the structure together.

    In our example here, the arch is made of brick, the key is made of wood, and there is no key at all in the brickwork! The brick absolutely denies its structural properties. If it were structural, it would collapse. As a result, the brick appears as simply an applied material that serves as mere siding. The entire look is visually abrasive and dissonant. This window would have been much more successful if the wooden key had been omitted and a brick or cast stone key had been installed in the brickwork.

    While we’re at it, I could point out other strange details, like the excessive width of the window trim and the awful half-round fan detail above the center window. I suppose that was put there to replace a more expensive true fan window. A real window would have made a great difference for only a couple of hundred dollars. Wouldn’t it be worth it right on the front of the house? I will give them credit for placing the downspouts around the corner and not running them right on top of the brick quoins. Ironically, the quoins are costly and enhance the expression of strength in the masonry. Better to have ditched the quoins and done the window and arch properly.

   You may think this is a little picky. But this is what separates a good house from a marginal house. The details make the difference.