GRAPHĒ

This Blackened Cedar Home Was Designed to Vanish Into the Trees—Almost

The all-electric home by OPAL Architecture pairs a striking charred timber exterior with bright interiors to create a forest retreat for a family of four on the coast of Maine.

A generous covered entry porch provides a sheltered connection between the main house and a small garage and workshop. The warm-toned wood soffit creates a striking contrast against the charred Japanese cedar cladding, while the open breezeway beyond frames a view through to the woods.

Half a mile from the Atlantic, down a narrow road bordered by old stone walls, a dark stacked form emerges from the birch, oak, and pine of Maine’s York County. This is the Elemental House, a home for Joe and Katie Edwards and their two young children that was designed by OPAL Architecture to feel as if it had always been part of the landscape.

"We wanted the home to have a dark tone on the exterior that would make it disappear to some extent in the shadows of the woods," explains OPAL design partner Riley Pratt. "The dark exterior and moments of transparency through the home create a lantern-like effect that we find quite beautiful."

The L-shaped plan and detached garage sit within a clearing on the family's two-acre wooded lot on Raynes Neck, a peninsula located about half a mile from the ocean. The cedar exterior of the home, Gendai Linseed Black yakisugi by Nakamoto Forestry, all but disappears into the surrounding forest. — The L-shaped plan and detached garage sit within a clearing on the family’s two-acre wooded lot on Raynes Neck, a peninsula located about half a mile from the ocean. The cedar exterior of the home, Gendai Linseed Black yakisugi by Nakamoto Forestry, all but disappears into the surrounding forest.
Photo: Trent Bell

Coming from nearly a decade in small city apartments—including a six-year stint in a basement unit—the couple’s brief was clear. "Our first priority was a house that made us feel connected to the outside world," says Joe. Beyond that, they desired space to grow as a family, the ability to work from home, and the efficiency of a house informed by Passive House principles to minimize ongoing costs.

The composition of flat-roofed volumes—clad entirely in Nakamoto Forestry yakisugi sourced from PEFC-certified, air-dried Japanese cedar—reads as a single dark form against the forested landscape, punctuated by carefully placed openings that offer glimpses of the bright interior. At twilight, the entry facade (as seen here) becomes illuminated by warm light spilling from the covered porch and windows onto the gravel path.
Photo: Trent Bell

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From the Archive: Low and Long, This Rural Home Was Designed to Feel Like Moving Through the Forest

Built for Bill Moggridge, the designer of the first laptop, and his wife Karin, the property provided a reprieve from the couple’s intercontinental life.

Welcome to From the Archive, a look back at stories from Dwell’s past. This story previously appeared in the January/February 2003 issue.

Heading south from San Francisco on Interstate 280, the "little boxes made of ticky-tacky" (made famous by singer/songwriter Malvina Reynolds in the ’6os) that line the hillsides of Daly City and South San Francisco rapidly give way to rolling green hills that turn a smoldering gold in the summer. Twenty minutes down the road, you can take any number of exits and creep farther away from civilization. As you turn onto Skyline Boulevard and drive through towering redwoods, the city and surrounding suburbs become a memory.

Here, deep in the woods, about an hour from downtown San Francisco, Bill and Karin Moggridge found the land that would become their home. "When Karin found this place, she did a little dance," says Bill, a cofounder of Ideo, the international design consulting firm. "From that moment, I knew it was all over." "It was just so incredible to see it," continues Karin, a fiber artist and clothing designer from Copenhagen. "I’m not a religious or spiritual person in any way, but it was as if something had said, ‘This is it. This is where you should put down your roots.’"

High above the Silicon Valley smog and sloping toward the distant Pacific, the land captivated the Moggridges from day one. Eccentric neighbors (including a helicopter-flying, horseback-riding, earth-moving-equipment-obsessed emergency-room doctor and a Cadillac-driving Neil Young), attracted by the area’s seclusion and beauty, are hidden at a safe distance among the manzanitas.

After Ideo took off in the ’8os, the Moggridges found themselves living the intercontinental life, splitting their time between London, where they owned a flat, and Palo Alto, where they owned a small house. "But everything had to be sacrificed for this," Bill says of their new house.

The Moggridges had long thought about building their own house but hadn’t seriously considered the possibility until 1994. "Basically, our freedom started with the kids leaving home and Ozzy passing on," Bill says, referring to their two grown sons and now-deceased dog, named after the infamous Black Sabbath singer Ozzy Osbourne.

With their freedom granted, the couple quickly staked their claim. Just 7o days after Karin first saw the land, the Moggridges were the proud owners of 17 acres of trees, dirt, wildflowers, and their fair share of poison oak, spiders, and mice. The two creative forces quickly got to work on their dreams, setting up a tent in a clearing and spending as much time as possible imagining what could be. "The first thing we did was to try and understand the land," Bill says. "So we got maps and an aerial photograph from the USGS. Then we started exploring the land, surveying the edges to find out where the periphery was, putting little flags every hundred feet."

"We were hoping to design the house," Karin says. "We made this little book in order to find out what we liked. The book got some of the desire to actually design it ourselves out of the way." "It also allowed us to work out our differences and discover what we each wanted," says Bill.

With the idea of designing the house on the back burner, the Moggridges made a short list of five architects whom they were interested in working with, including the small San Francisco firm of Baum Thornley. "We knew Doug [Thornley]," Bill explains, "from having worked with him on Ideo’s San Francisco office."

The Moggridges sent their 62-page book—containing chapters titled "The Land," "What We Want," "First Ideas," "Where We’ve Lived," and "Planning"—to the five firms and waited to see how each responded. "Most of the well-known ones sent us a copy of the book that they had published. They didn’t try particularly hard, but Doug and Bob [Baum] came to us with a portfolio and then finally presented us with the biggest proof of their interest in doing the job," Bill explains.

Thornley and Baum had been so moved by the site at their initial meeting that they snuck back to it without the Moggridges’ knowledge. They scoured the land, collecting dirt, tree bark, flowers, shedded snakeskin, and leaves, putting them in test tubes and constructing a wooden box to safely hold them all—a crafty presentation of the hues and textures that the architects saw playing a crucial role in Bill and Karin’s home.

"It was the first ground-up residential project for the firm," Thornley says, "so we really wanted to do it. Having worked with Ideo, we knew this house had the potential to be special. We looked at their book and thought, Wow, they’re ready to go. They really thought it through, and it wasn’t just a matter of how many square feet they wanted in the bathroom. It was a whole other level of how they lived, and how they wanted to be."

At the final meeting, the architects placed their creation in the center of the table and told the Moggridges they couldn’t open it till the end of the presentation. When they finally did, the deal was done. "It proved that they understood what we liked about the place—because we really felt that the house needed to have everything to do with the natural qualities of the place, the foliage, the earth, the trees," Bill explains.

See the full story on Dwell.com: From the Archive: Low and Long, This Rural Home Was Designed to Feel Like Moving Through the Forest
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Looking for a Compound? Here’s a Geodesic Getaway in the Sierra Foothills for $724K

Surrounded by forest, the funky ’80s residence underwent a complete, studs-out renovation over the past three years.

Surrounded by forest, this geodesic residence underwent a complete, studs-out renovation over the past three years.

Location: 5043 Virginia Bird Mine Court, Foresthill, California

Price: $724,000

Year Built: 1987

Renovation Date: 2026

Footprint: 2,308 Square Feet (4 Bedrooms, 3 Baths)

Lot Size: 1 Acre

From the Agent: "This fully remodeled, geodesic mountain home sits on a peaceful acre in Foresthill, blending architectural character with modern comfort. Vaulted ceilings, natural light, and forest views shape the living space. On the main level, the primary suite features its own full bathroom, while a second bedroom with a half bath offers flexibility for guests, kids, or a home office. Upstairs, two additional bedrooms share a full bathroom, providing a comfortable space for children or visiting family. Tucked on a quiet court and minutes to schools, recreation, and foothill amenities, this home is an ideal landing place for families relocating and looking for space, calm, and a thoughtfully updated place to grow."

Set in the Sierra Nevada foothills, the home is nestled between Sacramento and ski destinations like Alta and Tahoe. — Set in the Sierra Nevada foothills, the home is nestled between Sacramento and Lake Tahoe.
Photo by Sharon Claire

The main living space is partially heated by two separate woodburning stoves. — The living area is warmed by two woodburning stoves.
Photo by Sharon Claire

See the full story on Dwell.com: Looking for a Compound? Here’s a Geodesic Getaway in the Sierra Foothills for $724K

This Extended Family of 20 Needed More Than a Home—They Needed a Master Plan

"For people who don’t like to entertain a lot, there’s not that much we have to do because it’s just so pleasant being in the space," says Kirsten. "That’s the gift. Then anything we manage to rustle up is icing on cake."

SHED Architecture + Design helped the owners of this two-acre Silverdale property develop a master plan. It included remodeling the existing 1930s brick house into a two-bedroom guest house for their adult children, then building a second home for themselves (and more guests).

Kirsten and Rick will be the first to admit that they’re not big entertainers. "If I had an avatar, she would be really into entertaining, but I only have me, and we really love our time alone," Kirsten says. So, when the couple found this property on two waterfront acres in Silverdale, Washington, they planned to first remodel the existing 1930s brick house into a two-bedroom guesthouse for their family, and then add a separate primary residence for themselves, with a few extra bedrooms for good measure.

That way, in the off-chance that all 18 members of their family visit at once—including their five adult children, their children’s partners, and eight grandchildren between the ages of 6 and 23 (with another on the way)—the couple would be well-prepared.

The idea for the dual residences came from Prentis Hale, principal of SHED Architecture + Design, who suggested it as an alternative to demolishing and rebuilding (or remuddling) the original 1930s brick house to make it big enough for everyone. "I just hated the idea of tearing that house down," says Kirsten. "Prentis talked about how the two houses would speak to one another instead."

Hale placed a mudroom with a yellow Dutch door facing the brick house, as well as a walkway, with the idea that people would be tramping back and forth between the two places. — SHED Architecture + Design helped the owners of this two-acre property in Silverdale, Washington, develop a master plan. It involved remodeling the existing 1930s brick house into a two-bedroom guest house for their adult children, then building a second home for themselves (and more guests). A mudroom with a yellow Dutch door faces the brick house, as well as a walkway linking the two residences.
Photo: Rafael Soldi

Kirsten and Rick’s property is a former oyster farm, and while the original house has some fancy brickwork, there are still several old, simply framed farmhouses in the area, says Kirsten. "We wanted something that would fit in with the neighborhood," she says. To that end, Hale and the team drew up what they call a "strong gable shape" that was informed by their research into Scandinavian barn and farm buildings—an inspiration for Kirsten, who has grandparents from Sweden and Norway—with deep eaves to protect the house from inclement weather.

One of the gables roughly aligns with the roof of the brick house. "Our instinct was not to say, ‘Hey, this is a cool brick house with a gable. Now let’s put a round titanium sphere to the left of it,’" says Hale.

The cedar reverse board-and-batten siding on the home is stained in Benjamin Moore, Arborcoat, Wrought Iron. The siding was loosely inspired by the clinker brick on the other house, which is not "totally uniform, — The home’s cedar reverse board-and-batten siding is stained in Benjamin Moore Arborcoat Wrought Iron. The siding was loosely inspired by the clinker brick on the other house, which is not "totally uniform," says SHED principal Prentis Hale. "We wanted the exterior of the house to be a little shaggier."
Photo: Rafael Soldi

The front door, painted Benjamin Moore, Viking Yellow, opens to views of the water. — The front door, painted Benjamin Moore’s Viking Yellow, opens to views of the water.
Photo: Rafael Soldi

See the full story on Dwell.com: This Extended Family of 20 Needed More Than a Home—They Needed a Master Plan
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Massive Concrete Screens Bring Plenty of Light and Air to This Sandwiched-In Brazilian Home

Brutalist grids cover the front and rear facades of the three-story family residence.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: São Paulo, Brazil

Architect: Ateliê GR / @ateliegrau

Footprint: 2,615 square feet

Structural Engineer: ETVL Engenharia

Civil Engineer: MULISANI

Lighting Design: Ricardo Heder

Photographer: Nelson Kon / @nelsonkonfotografias

From the Architect: "The Caetés House is located on an urban plot within a mixed-use zone of São Paulo, Brazil. The street is quiet, characterized by the coexistence of residential, service, and commercial uses. Its proximity to public transportation and easy access to green infrastructure create a favorable urban context. The program accommodates a large family consisting of a couple and five children. The family configuration is ‘tentacular,’ featuring a complex and interconnected structure that moves beyond the traditional nuclear model, incorporating various unions, separations, remarriages, and diverse affective bonds, resulting in an expanded network of relationships.

"The implementation of a compact three-story volume optimizes the use of built areas and their relationship with the exterior spaces, prioritizing natural lighting and ventilation. Each floor was designed with distinct functions and attractions. The layout of each level was idealized to provide maximum flexibility, adopting an open plan with internal drywall partitions. The intermediate level, with direct access from the street, houses an open driveway for two vehicles connected to a vestibule where the main staircase is located. Adjacent to this space, two independent offices, separated by voids, integrate the dynamics of adult work and children's leisure into daily life. The lower floor concentrates the social area, with an integrated living room, dining room, and kitchen facing the backyard, and a patio permeated by gardens. This building level features longitudinal openings along the boundaries, providing light and ventilation to a semi-underground floor, ensuring privacy while simultaneously offering a privileged view of the city skyline. The upper floor is dedicated to the bedrooms, arranged along a hallway that receives light filtered through concrete cobogós (hollow blocks). This floor stands out for its high ceilings and generous cross-ventilation, which flows across the two facades defined by the perforated concrete panels. These large planes feature rhythmic openings that frame the city view.

"The block’s roof functions as a suspended garden, integrated with the city’s flora and fauna. This garden acts as a ‘green sponge,’ absorbing large volumes of water during rainy periods. Integrated into this garden is the residence’s technical area. This space houses the water tank, pressurizer, air-conditioning condensers for the offices, and an electrical panel prepared for the future installation and integration of solar panels.

"The residence adopts a palette of raw materials, such as exposed bricks and concrete blocks, polished concrete floors (laje zero), and precast concrete slabs, which contrast with large glass panes in aluminum frames. Exposed installations—with each pipe color-coded by function—reinforce the building’s ‘brutalism,’ juxtaposing industrial and artisanal elements as a representation of contemporary construction techniques. The project incorporates several references to seminal works of modern architecture, influences that enrich the creative process and the living experience."

See the full story on Dwell.com: Massive Concrete Screens Bring Plenty of Light and Air to This Sandwiched-In Brazilian Home

For $1.5M, You Can Pick Up a Pair of Midcentury Homes in Long Beach

Designed by Clifton Jones Jr., the two-bedroom residences share a central dividing wall, and they’re still in pristine, original condition.

Location: 4181 / 4183 Del Mar Ave, Long Beach, California

Price: $1,450,000

Year Built: 1963

Architect: Clifton Jones Jr.

Footprint: 2,414 Square Feet (4 Bedrooms, 4 Baths)

Lot Size: 0.14 Acres

From the Agent: "The single-story Plan A model features a steeply pitched roof at its center, which shelters expansive open plan layouts under lofty beamed ceilings. The side-by-side two-bedroom / two-bathroom homes live more like custom single-family residences than attached units. A central block wall divides them, with floor-to-ceiling sliding doors and glass walls that face entry courtyards in the front and separate fenced patio/garden areas at the back. These private patios expand the living spaces outward dramatically. The east-facing living area and back patio are bathed in morning light, with the west-facing courtyard and dining room sunlit in the afternoon. The kitchens are both well organized with u-shaped layouts and large window walls to the north and south. The bedrooms feature spacious closets and each has its own en suite bath. Each unit includes a carport as well as a private, direct-access garage with a laundry area. The property is well situated in Long Beach’s desirable Los Cerritos neighborhood—known for its tree-lined streets, historic homes, excellent school district, and incredibly quiet, peaceful atmosphere. A vast array of options for shopping, restaurants, and breweries are all in close proximity. The homes are centrally located with easy freeway access for commutes to both Los Angeles and Orange County, and less than 1.5 miles from a metro station."

Floor-to-ceiling windows bring natural light into the living areas of the post-and-beam homes.
Photo by Sterling Reed

See the full story on Dwell.com: For $1.5M, You Can Pick Up a Pair of Midcentury Homes in Long Beach
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It’s a Great Time to Be the Giant Maker of Route 66

As The Mother Road revs up for its centennial, demand for sculptor Mark Cline’s Muffler Man statues is soaring, transforming a fading folk art into a pop-culture revival.

Muffler Men owned by Ohio collector Dave Niederst being refurbished in Mark Cline’s studio.

Everything in artist Mark Cline’s orbit feels a little larger than life. Even his setbacks carry a certain Herculean weight. In the early days of his creative career, before he became known for sculpting the massive fiberglass figures that now define his work and an American landscape, when he was still trying to carve out a niche for himself, Cline was so broke that he sometimes slept on park benches. Years later, his studio burned to the ground—not once but twice—reducing decades of work to billowing piles of ash.

Self-taught artist Mark Cline (pictured in top image), whose background is in sculpture and resin work, started making fiberglass "giants" several decades back. Now his business, Enchanted Castle Studios, which he runs with his wife, Sherry, builds and refurbishes traditional advertising figures, huge dinosaurs, and more, such as Muffler Men (called such because they historically held car mufflers to advertise auto shops) owned by an Ohio collector.
Photo by Scott Suchman

And yet, eventually Cline found his way into a monumental niche: making the oversize fiberglass figures, the iconic "giants," that dot Route 66. When I arrived at his Enchanted Castle Studios in the fall of last year, set amid rolling farmland 40 miles northeast of Roanoke, Virginia, business was booming and on a triumphant scale. Cline and his two-person team have enough giants looming on the docket to keep them hopping for a while. Both the self-taught sculptor and his towering creations appear to be in the midst of a glorious renaissance. That’s fueled in part by the 2026 centennial of Route 66, known as the Mother Road or the Main Street of America, famous for its role in funneling travelers of many generations cross-country.

Route 66 celebrates its 100th anniversary this year, sparking a new wave of attention to its iconic kitsch and giant figures, most ranging from 14 to 23 feet tall. From left to right: Tire Man Big Brand tire statue in Van Nuys, California, 1991; Stan the Tire Man statue in Mount Vernon, Illinois, 1988; Tire Man statue in Birmingham, Alabama, 1980.
John Margolies Roadside America Photograph Archive. Library of Congress Prints & Photographs Division.

Highway guardians like this had their heyday in the 1960s, when cross-country road trips ruled and a chorus line of colossal statues sprang up along the nation’s roads, beckoning drivers to stop at local chains, franchises, and mom-and-pop businesses. Among the most popular archetypes of the era was the Muffler Man, with outstretched hands poised to grip an enormous car part; his female counterpart, the Uniroyal Gal, often clad in a bikini and said to have been modeled on First Lady Jackie Kennedy; and a popular variation called Paul Bunyan, a beefy lumberjack whose axe was sometimes swapped for a monstrously large hotdog.

"I’m working on giants seven days a week at the moment," Cline tells me as we stroll through the property, his phone buzzing often with requests from small-business owners seeking massive pink doughnuts or chicken-drumstick-wielding cowboys.

The interior of Enchanted Castle Studios is shared by a workshop and a warehouse, where completed projects like dinosaurs and miniature trains stand alongside molds for unique sculptures Cline has restored over the years.
Photo by Scott Suchman

See the full story on Dwell.com: It’s a Great Time to Be the Giant Maker of Route 66
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