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Press:
Home of the Year Prizewinner: "Art House"
Architecture, November 2002
Story by Abby Bussel
Photos by Michael Moran
Northwestern Connecticut, like the Berkshire Mountains in Massachusetts just to the north, has long appealed to the creative class, those artists and authors seeking big skies, limitless space, and the natural beauty of the land. The Berkshires are a well-known retreat for luminaries present and past, from writer Edith Wharton and Lincoln Memorial sculptor Daniel Chester French to dancer Ted Shawn and film critic Pauline Kael. The towns and villages of the Berkshire foothills in Connecticut are less familiar but still rich in cultural characters, from the chamber musicians who have presented summer concerts at Music Mountain for nearly three-quarters of a century to muralist Ezra Winter.
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"The Heavenly Home Office"
Dwell, October 2002
Story by Julie Lasky
Photos by Michael Moran
A 1931 painting studio, built by the muralist Ezra Winter on a hilltop in Falls Village, Connecticut, offered none of the comforts of home and few of work. But that didn't deter William Drenttel and Jessica Helfand from buying the property, known as Winterhouse, four years ago and converting it into their residence and office. The couple, who produce books, magazines, and websites, were refugees from Manhattan with two young children and modernist tastes. Drenttel especially responded to the building's austere lines, its trio of 25-foot high windows, and its cavernous interior, suitable for the couple's 750 linear feet of books. "It's a bunker," Helfand cheerfully admits. "There's not a lot of Martha Stewart charm, though the grounds do have stone walls and rambling paths." Architects Michael Morris and Yoshiko Sato of Morris Sato Studio in Manhattan renovated the residential quarters at the rear of the house, and the dream of a home office, shown here.
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"Winter House And Studio"
bob: International Magazine of Space Design (Korea), 024: Fall/Winter 2006
Text by Morris Sato Studio
Photos by Michael Moran
Morris Sato Studio completely transformed the interior and exterior of the derelict 7000 square foot edifice, built in the 1930s for renowned muralist Ezra Winter (famous for commissions including the lobby of Radio City Music Hall and the Library of Congress), into a family home and technologically innovative office studio, while retaining the aura of its former use. In the studio, a staggered mezzanine bridges the structure's north and south facades, its stepped elevations providing individual work zones above storage, kitchenette, and toilet spaces. Above the clients' vast 700 linear foot book collection, two square interior windows punctuate a view from the third floor master bedroom suite into the studio, visually linking the domestic and work zones. The radical change between the residential and work spaces is negotiated by a twelve by eight foot lacquer-paneled, glass and aluminum sliding door, and by aluminum and fiberglass entrance canopies on the building's exterior.
Obliterating the dark recesses of the 9.6m high volume, symmetrically placed vertical light coves delineate the western wall. A vertical slot window added to the southeast corner repeats the dimensions, drawing the eye diagonally across the vertical expanse.
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Various House Photos:
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Home of the Year Prizewinner: "Art House"
Architecture, November 2002
Story by Abby Bussel
Photos by Michael Moran
Northwestern Connecticut, like the Berkshire Mountains in Massachusetts just to the north, has long appealed to the creative class, those artists and authors seeking big skies, limitless space, and the natural beauty of the land. The Berkshires are a well-known retreat for luminaries present and past, from writer Edith Wharton and Lincoln Memorial sculptor Daniel Chester French to dancer Ted Shawn and film critic Pauline Kael. The towns and villages of the Berkshire foothills in Connecticut are less familiar but still rich in cultural characters, from the chamber musicians who have presented summer concerts at Music Mountain for nearly three-quarters of a century to muralist Ezra Winter.
-------------------------------
"The Heavenly Home Office"
Dwell, October 2002
Story by Julie Lasky
Photos by Michael Moran
A 1931 painting studio, built by the muralist Ezra Winter on a hilltop in Falls Village, Connecticut, offered none of the comforts of home and few of work. But that didn't deter William Drenttel and Jessica Helfand from buying the property, known as Winterhouse, four years ago and converting it into their residence and office. The couple, who produce books, magazines, and websites, were refugees from Manhattan with two young children and modernist tastes. Drenttel especially responded to the building's austere lines, its trio of 25-foot high windows, and its cavernous interior, suitable for the couple's 750 linear feet of books. "It's a bunker," Helfand cheerfully admits. "There's not a lot of Martha Stewart charm, though the grounds do have stone walls and rambling paths." Architects Michael Morris and Yoshiko Sato of Morris Sato Studio in Manhattan renovated the residential quarters at the rear of the house, and the dream of a home office, shown here.
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"Winter House And Studio"
bob: International Magazine of Space Design (Korea), 024: Fall/Winter 2006
Text by Morris Sato Studio
Photos by Michael Moran
Morris Sato Studio completely transformed the interior and exterior of the derelict 7000 square foot edifice, built in the 1930s for renowned muralist Ezra Winter (famous for commissions including the lobby of Radio City Music Hall and the Library of Congress), into a family home and technologically innovative office studio, while retaining the aura of its former use. In the studio, a staggered mezzanine bridges the structure's north and south facades, its stepped elevations providing individual work zones above storage, kitchenette, and toilet spaces. Above the clients' vast 700 linear foot book collection, two square interior windows punctuate a view from the third floor master bedroom suite into the studio, visually linking the domestic and work zones. The radical change between the residential and work spaces is negotiated by a twelve by eight foot lacquer-paneled, glass and aluminum sliding door, and by aluminum and fiberglass entrance canopies on the building's exterior.
Obliterating the dark recesses of the 9.6m high volume, symmetrically placed vertical light coves delineate the western wall. A vertical slot window added to the southeast corner repeats the dimensions, drawing the eye diagonally across the vertical expanse.
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Various House Photos:
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[ end ] [ home ]
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