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PIERCING THE LIGHTwritten by DONNA PIZZI photography by JEREMY BITTERMANN & UDOM SURANGSOPHON

INSPIRED BY A HILLSIDE SITE OVERLOOKING THE CASCADE RANGE, WILLAMETTE RIVER AND PORTLAND’S DOWNTOWN, ALLIED WORKS ARCHITECTURE CREATED A MODERN MASTER-PIECE WHOSE GEOMETRY SPLAYS OPEN LIKE FIVE FINGERS OF A HAND TO BRING IN LIGHT FROM ABOVE AND VIEWS OF THE TERRACED LANDSCAPE BELOW FROM THREE STEPBACK WALLS OF SOARING WINDOWS.

42PDX 030-045 Allied Works Architecture Portland Heights.indd 30 2/5/19 5:15 PM

PIERCING THE LIGHT

A PERFECT UNION WAS FORMED WHEN a prominent Portland family

fortunate enough to live in several historic old homes commissioned Brad Cloepfil

of Allied Works Architecture to design their first modern home. Sited on a projected

ridge of the Tualatin Mountains, it has epic views of Portland’s iconic mountain rang-

es, river and downtown.

“The family, which had previously lived in classic and notable historic Portland

homes,” says Cloepfil, “had never built a home before. After finding this incredible

property, they decided to commission a piece of architecture that would fuel their

growing desire to continue living in interesting places.”

As the project began to gear up, Cloepfil called on builder Don Tankersley of Don

Tankersley Construction to join the team.“When Brad calls to say, ‘I’ve got a project

I want you to look at,’ you come running,” says Tankersley.

“The architecture,” says Cloepfil, “is really about the site, which is true for most of

our houses and work. In this case, the permanent markers that hold it to the earth

are the three pillars of concrete - the fireplaces, earthworks and terracing. The house

itself is more ephemeral, piercing the light through seams in the roof.”

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32 PortraitMagazine.com

PREVIOUS PAGE The board and batten exterior creates an intentional architectural detail - a shadow line that looks as if one plane is floating in front of the other, since the return of the batten is unseen. An Ebony and Cape Cod gray stain by Sikkens products adds definition.

THIS PAGE Each black walnut veneer was hand picked by the architects, homeowner and builder at Mark Newman Design in Wood. A custom Paul Rudolph Modulightor light fixture floats above the oval Pergay dining table to avoid obstructing view or architecture. Vintage 1960s Arne Norell chairs and Robert Kuo lacquer drumstool cozy up to the concrete and tile fireplace.

Tankersley agrees. “Those concrete fireplaces have a texture and color

that’s very earthen and worn,” he says. “Even though they are big blocks

of board formed concrete, they are not cold. They are the found ruins

around which the house was built.”

Tankersley loves working with Allied Works’ team, which included

Dan Koch on this project, as they will bring him into meetings with the

clients, architect and often the designer early in the process, which, he

says, creates time and cost saving advantages.

“We had our weekly meetings where the architects would come in with

solutions to any problems that the owners would suggest. I’d leave there

and go and price it out and try to figure out the details for the architect,”

he says.

“Don is a rare builder who completely understands the design intent,”

says Cloepfil. “You don’t have to explain very much to him, because he’s

very bright and has a good eye, which makes working together a true

partnership and a real pleasure.”

“It’s all in the details,” adds Tankersley. “The challenge is to realize the

intent of the architect and not let the logistics or the necessities of con-

struction change something the architect wants.”

One such detail is the black walnut cabinetry work, says Tankersley.

“Mark Newman Design in Wood painstakingly built all the cabinets in

there. He had us all go, the homeowners, Brad, Dan Koch, me and our

finisher, Frank McGinnis, on a field trip to a mill, where we picked out

each veneer, one by-one. It was a very impressive, fun day!”

Building on the side of a hill was a definite challenge. Concrete work

estimated to take three months, took six. “We shaped the whole lot,”

says Tankersley, “then did some architectural gymnastics to fit the home

to the lot. Cloepfil’s design was all about creating these views. Instead

of punching holes in a wall and putting in a window, we removed the

wall and replaced it with glass, and completely revealed the view to the

edges, so it feels like the end of the pavilion is open, especially in the

dining room.”

The dining room became a focal point for New York designer Lisa Frazar

of Studio Frazar who was recommended by Cloepfil as a designer who

went to architecture school before becoming an interior designer and

is simpatico with architects, working in concert with them to enhance

their design.


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The striped Peter Alexander wall art left plays off the piano’s keys right. A purple Tommy Parzinger sectional sofa is upholstered in 1950s Maharam sofa fabric. It is cocked at one end to replicate the geometry of the wedge of light that filters into the room. The popular 1944 “Clam” Chair by Philip Arctander was sourced through a Swedish auction house. Mallet, a Portland furniture manufacturer, built Frazar’s custom coffee table using a Costa Rican wood slab with mahogany legs. Frazar designed the custom block rug by Beauvais Carpets. Ward Bennet’s 1970s Swivel chairs were found on 1st Dibs. Vintage lamp by Tue Paulsen. Integrated audio and video throughout the home by E Cubed Audio VIdeo.


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“The house was fully furnished when I was flown out to meet the clients,” recalls Frazar. “I didn’t leave the property for 2 days. During

that time, I realized how the ceiling which is splayed open to bring in light made it impossible to introduce rectilinear furnishings like their

long dining table, which looked off at all times.”

To address that crucial architectural element of the design, Frazar recommended using an oval Marie Pergay dining table and vintage Mies

van der Rohe chairs.“That was our first big purchase and it took us six months to find the table with stainless steel top and lucite base.”

“The clients,” says Cloepfil, “began to question their thinking about furniture and art the more they lived in the house and understood it.

They began collecting contemporary art and furniture as they evolved into the house.”

As Cloepfil walked the house with his clients, he discussed ways to make the furnishings inform the architecture. “As the architecture weaves

and folds with light, angles and geometry,” he said, “the walnut storage pieces, the presence of the hearth, fireplaces, concrete and tile all

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THIS PAGE Cross cut white oak flooring is intersected by a board form concrete fireplace countered in turn by towering walls and cabinetry of black walnut veneer by Mark Newman Desi.gn in Wood. A swirling 1950s Upsala Ekeby Swedish vase reiterates the oval lines of the dining table. KGBL bronze and walnut bench with horsehair upholstery by Holland & Sherry. OPPOSITE PAGE A custom designed scribble rug by Studio Frazar grounds the 1960 Arne Norell chairs. Outdoor furniture by Richard Schultz populates the terrace. Dynamic lift and slide door and windows from Vancouver, BC, rise to 14 feet, supported by a zinc roof with lots of steel, says Tankersley.

ground it.” He cautioned that “Contemporary houses are often more abstract, even if they’re richly, beautifully detailed. Therefore, the role of

its furnishings is critical; they must be to the scale of the house. A rote response is a total mistake.”

He also noted that introducing pieces from various moments in history helps give a room a more cohesive feel. “That’s the magic of interior

design,” he says. “A lot of contemporary houses looks as if their furnishings were all bought right now, rather than contextualizing things with

a bit of history to them. Using furniture from different periods extends the conversation.”

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OPPOSITE Interior Guest Cottage features a Papa Bear chair, Dunbar bench and coffee table by Tue Poulson. THIS PAGE The serene guest cottage bedroom is grounded by a vintage Swedish flatweave rug. A colorful DWR bed teams with a Hans Wegner chair. Cabinetry throughout the home, by Mark Newman Design in Wood.

When Frazar came onboard, she worked with the family very closely to carry out the transformation, involving them in the process at every step

of the way. “They’re fun, travel all over, shop and collect. This home was a labor of love for them,” she says. “I soon discovered they love color,

so as I’d find things, we would replace the existing furniture with colorful pieces like the vintage purple Parzinger sofa, which I bought from a

dealer in Sag Harbor.”

“Things took time,” says Frazar, “but each time we introduced a new material, like the metal and lucite Pergay table and the dark leather van

der Rohe vintage chairs that complimented the architecture, everyone agreed that the unexpectedness of these furnishings enhanced the home.”

Soon, the couple began adding key elements themselves, such as the large Brooks painting in the living room, which they discovered in a New

York art warehouse. “On Valentine’s Day, the husband came to New York looking for a gift for his wife,” recalls Frazar, “and I sent him to my

favorite ceramic store in New York City - Freeforms. Now they’ve begun collecting ceramics as well.”

Cloepfil says he doesn’t approach a project with any presumptions. “It’s just a conversation. What’s inspired by the site, particular things a

client is interested in, how they live, what phase of life they are in.” Art, he adds, is always a part of that conversation. “This family started collect-

ing art pretty seriously. So, I introduced them to Liz Leach of Elizabeth Leach Gallery in Portland, since she works with a lot of national galleries.”

Well-known for his work on some of America’s notable art museums, Cloepfil used similar design techniques on this home. “We use light in a

lot of our projects as shadow play to dematerialize the surface, as we did with the Clyfford Still Museum in Denver,” he says. “By the scaling of

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A colorful royal blue Lacanche range with five burners, adds pop to the kitchen. Stacked white pearlescent tile backsplash gets heft from a large top hat style Vent-A-Hood stainless steel hood. A waterfall edge honed Calcutta marble island countertop provides plenty of work and dining space.

pieces of wood so when the sun hits the different façades, different

depths, they are made ephemeral by the light.”

Tankersley was particularly taken by this aspect of the design. “You

have to see a drawing of it or in person to appreciate what a nice

detail it is,” he says. “The board behind the batten is ¾” cedar, while

on top, the batten is 5.5” x 1.5” thick with the sides angled back at

10 degrees, which creates a shadow line that looks as if one plane is

floating in front of the other.”

Although Tankersley didn’t work with Frazar until his work was

done, he was very taken with the way her work complemented the

architectural essence of the home.

“I’m just thrilled with the way the furnishings and art really make

the house look good,” he says.

“Coming from New York City,” says Frazar, “I’d never been on a

project that had such rich landscaping or a house with such amaz-

ing materials that captured the light and the views as Brad’s design

has done. Frankly, I was a little intimidated at first to put any fur-

niture in the house, but the clients were so enthusiastic and wide-

open about collaborating and learning over time that the outcome

became so beautiful that we’re still working together on other parts

of the house.”

An avid gardener and a member of many of Portland’s garden-

ing clubs, the woman of the house has her own potting shed. She

harvests herbs from the garden to make dinner for family and

friends alike.

The landscape design was a collaboration between Eric Shriner of

Pivot Landscape Architecture and Sean Hogan, the owner of Cis-

tus Nursery, who supplied a lot of the plants and added design as-

sistance. Cloepfil admits he was skeptical at first about the plant-

ings they chose being appropriate for this climate. “I didn’t think

it would grow this far north,” he says, “But I was dead wrong! It’s

fantastic.” A big gardener himself, Cloepfil loves the minor hiking

path the landscape artist created that traverses the topography of

the property.

One of the delights of the project, all agree, was the joy of work-

ing with the family. “They are true patrons,” says Tankersley. “They

made sure we did well, and everyone was having a good time.

Working with them and Brad, you really get to work with great

materials and craftsmen in town. That’s as good as it can get!”



TOP The guest cottage, with roof garden and floor-to-ceiling lift and slide doors, enjoys views of the pool, city and mountains. ABOVE The residence consists of five separate blocks, all sitting at a slight angle to one another. The southern tip of two such angles meets to form a sliver of light between the two pavilions, captured via pyramid-shaped skylights. OPPOSITE The flat zinc roof remains dry, in part, by uti-lizing rain screen construction with air gaps. “If water does get in,” says Tankersley, “it has somewhere to go before it tries to go inside.”




PROJECT SOURCES

CONTRACTOR Don Tankersley Construction www.dtcportland.com

ARCHITECTAllied Works Architecturewww.alliedworks.com

INTERIOR DESIGNStudio Frazarwww.studiofrazar.com

ARCHITECTURAL WOODWORKING Mark Newman Design in Woodwww.marknewman.com

AUDIO VIDEO/HOME THEATER E Cubed Audio Video LLCwww.E3pdx.com

Swimming Pool: Cascade Pools & Spas; Kitchen Appliances: Liebherr, Lacanche, VentAHood; Bath Plumbing Fixtures: Boffi, Dornbracht, Duravit

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42PDX 030-045 Allied Works Architecture Portland Heights.indd 43 2/6/19 10:37 AM

FURNITURE ARCHITECTURAL WOODWORKING

Wood is wood. It’s an endlessly fascinating material. I don’t really have to say it because everyone knows. If you were an engineer, and you were to do the math on the most efficient way to hold up a given mass, the result would look like a tree. When you cut through it, sand it, and polish it you get… well, you know what it looks like!

I have been creating things of wood my whole life, but it’s not just the material itself that keeps me going. I also love to solve problems. Designs are always the result of human

needs; functional, compositional, communication. When we face these together, beauty results… in the wood. That’s why I love working for you.

We build furniture and architectural woodworking… it’s either free standing, or connected to a building… other than that, it’s all the same.

when only extraordinary will do

331 SE Madison Portland, OR 97219

503.515.6963marknewman.commarknewmanarchitecturalwoodworking.com



Q: What projects are in your future? A new School of Art for Pratt Institute. A new winery in Oregon in a Yamhill County landscape. Various other projects, including a sweet building in Corvallis - the Benton County Historical Society in down-town Corvallis. My ultimate quest is to design a spiritual space.

Q: Your work includes major museum projects, cultural institu-tions and innovative educational facilities. How do you combine functionality and beauty in such complicated environments? Functionality is never a struggle. The question is, “What are you serving?” Which community? Which city? What kind of space will resonate with that institution? As well as beauty, which, frankly, is very important. It’s an act of respect to make something beautiful for an institution and community. It draws people to come back again and again to enjoy it. People value beauty, not novelty. Novelty is very exciting, but you need to replace it in 3 years. Buildings need a much more enduring presence. Therefore, I serve beauty.

Q: How does the passage of time factor into your work? Again, the passage of time goes into the same conversation. You attempt to do things that communicate an experience that no one else has had. To create some sort of insight or experience. You want a build-ing to endure, have a sense of timeless, with beautiful proportions, detailing and materiality. To do so, you need to understand the nature of rooms that last, that people want to use again and again. Although the functions of rooms may change, buildings remain. Rooms of value that sustain their purpose and validity are those that can embrace the function of change around and within them. Those are the rooms you want to make - that can be used 200 years later, yet still have the same resonance that people value.

Q: When you’re not working, what do you enjoy? Gardening. Cooking and baking breads. Because my life is so public, and I travel so much, I tend to burrow in and be domestic at home. A favorite book is “The Complete Book of Breads” by Bernard Clayton.

Q: Figures that have inspired your work over the years? It’s ongoing. Artists as much as anyone else: Richard Serra, sculptor, Eva Hesse. Obviously, Peter Zumthor, who is very inspiring.

Q: How important is the connection of architecture to other creative art fields? For me, it’s critical. All one conversation of ideas. I get inspiration from visual art, from the landscape, light, everything. For me, it’s searching for ideas. Ideas are out in the world. So, I look at everything.

Q: How has your style developed and changed over the years?I don’t have a style. Every project is a new project. My interests change with our office’s ability to build more sophisticated geometry and building tech. My ability to envision things has expanded because our skill set has grown as an office. As a result, we are more speculative in construction. All our work is construction and structure. It has to do with us having to envision and then know how to build what we envision. As a result, we’ve gotten incredibly more sophisticated.

Q: When working on a new project, where do you begin? The site. Always with the site. What does the site tell us? The City, landscape, project, all exist because of the site and quality of light. Once you understand the potential of the site, then you must ask, “What is the building serving?” The community? Collectors? Students? City? Who is it for? Those are the things that will resonate.

Shoptalk l Brad Cloepfil

Brad Cloepfil, Founding Principal Allied Works Architecture

FURNITURE ARCHITECTURAL WOODWORKING

Wood is wood. It’s an endlessly fascinating material. I don’t really have to say it because everyone knows. If you were an engineer, and you were to do the math on the most efficient way to hold up a given mass, the result would look like a tree. When you cut through it, sand it, and polish it you get… well, you know what it looks like!

I have been creating things of wood my whole life, but it’s not just the material itself that keeps me going. I also love to solve problems. Designs are always the result of human

needs; functional, compositional, communication. When we face these together, beauty results… in the wood. That’s why I love working for you.

We build furniture and architectural woodworking… it’s either free standing, or connected to a building… other than that, it’s all the same.

when only extraordinary will do

331 SE Madison Portland, OR 97219

503.515.6963marknewman.commarknewmanarchitecturalwoodworking.com

42PDX 030-045 Allied Works Architecture Portland Heights.indd 45 2/11/19 8:31 AM

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