On Site: Nerves of Steel

Anyone involved in the building business knows the truth of the old aphorism: Appearances can deceive. The sturdiest-looking old row house could be crumbling to dust inside. And the simplest detail in a contemporary dwelling may have taken months of trial and error to perfect.

At this waterfront house for an empty-nester couple in Riverside, Conn., architectural sleight of hand conceals the typical trappings of a Modern residence—a mostly steel frame, an open floor plan, and lots of glass—within the guise of a traditional, Arts and Crafts-influenced design (see image gallery). The need for steel stemmed from the project's wind-pounded location on a cove that flows into Long Island Sound: The owners wanted an open first floor without visible posts or supports, and the steel frame satisfied that request while still meeting local wind load requirements. Architect Duo Dickinson worked with builder Bill Manderville and structural engineer Ed Stanley to plan the frame's exact dimensions. Luckily, Manderville had some past experience working with steel on commercial projects. “There's zero margin of error for steel construction,” says Dickinson. “You can always cut and adjust wood in the field very easily, but you have to cut and fit and prepare connections for the steel off site.”

The lot measures a quarter of an acre, and local siting restrictions considerably reduced the buildable envelope. So Dickinson, the author of two books on small house design, finessed the owners' program into a relatively modest 3,100 square feet. A combination kitchen, living room, and screened-in dining porch takes up over half of the first floor, but somehow it feels comfortably spacious, never overwhelming. Dickinson carefully managed the proportions, giving the ceilings 11 feet of height to counter the room's 38-foot length. Five-inch-wide white oak floorboards also suit the space's oversized scale. “That was as wide as you could go, with the moisture in the air,” says Manderville. “Wider boards get more movement across the grain.” And Dickinson paid particular attention to the width and height of the room's entries and exits. “What makes it different is the scale of the room openings,” he says. “They come close to the ceilings and get low to the floor. It gives you a sense of release.”