![]() ![]() ![]() In plan, the project evokes Mies van der Rohe’s unbuilt Brick Country House (circa 1923), though Specht claims that Frank Lloyd Wright, and to a certain extent Paul Rudolph, were more of an influence on his work here, evident in the mass and texture of the building’s concrete, its extending walls, and captured fields of vision. The dining area opens to a covered terrace and has views through the kitchen. (It reads as one plane but is actually interrupted by the dining room and terrace.) The other, a 122-foot-long span, supports a bedroom wing and runs along the east-west facade, sliced by an eye-level window on a hallway. The main one, at 208 feet long, serves as a spine for the home’s public zone and runs along its north-south axis surrounded by a narrow band of water that ripples and falls gently at the front of the house, then flows into the swimming pool at the rear. These brawny structural forms-corrugated on one side, smooth on the other-were crafted using techniques borrowed from the Brutalist era of the 1960s and ’70s, but sanded lightly after curing to achieve a 21st-century sheen. ![]() Inspired by the mid-20 th century modern houses scattered among the traditional and contemporary architect-designed residences in this upscale community, Specht devised a hybrid concrete structure with steel and wood framing that stretches into the landscape with two intersecting wings, each organized around an 18-inch-thick board-formed wall. A strategic gap reveals a serene entrance with interior and landscape views. ![]()
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