The traditional style and personalized details of this lakefront home are typical of my work. Simple sketches and models at the beginning of the design process helped the homeowners get a sense for character and spatial relationships. More detailed drawings defined specific spaces and finally showed how the house was to be built.

Many details were a collaborative effort with owner and builder. Mockups were built in the field from sketches, then digitally photographed and emailed to owner and architect for comment. Final decisions were often made on site over early morning coffee.

As seen in DownEast (November 2004), Fine Homebuilding (May 2005), and Builder(October 2005) magazines, and The New Wood House by James Grayson Trulove (2005).

The clients fell in love with this lakefront lot, but not its 1970’s ranch house which suited neither their lifestyle nor their taste. The challenge was to extract some value from the structure while making it suitable for entertaining large groups and transforming its look.

These before and after photos tell the story. Net savings for re-use of the existing structure was over $100,000.

As seen in Lake Living (Fall 2012) and Down East (October 2013)

I believe the most powerful design tool is still a pencil.  Whether to capture a thought, explore an idea, or describe an environment—nothing beats a soft pencil.  Computers are useful to create 3D models and technical drawings, but I always start with a sketch.

I use various methods for communicating design concepts to homeowners.  These range from simple freehand sketches to 3-D cardboard or computer models to photo realistic renderings showing the building in its setting.

Since the Renaissance architects have used figure drawing to improve observational skills and to explore scale, proportion and light as basic design elements.  It remains an integral part of my practice.