Houzz Tour: New Shingle-Style Home Doesn’t Reveal Its Age
Meticulous attention to period details makes this grand shorefront home look like it’s been perched here for a century
At first glance, most people would probably swear this home was built around 1910, and that’s exactly how architect Douglas VanderHorn and the family who hired him wanted it. The family’s previous home on the property, which they’d lived in for years, had such small rooms, awkward spaces and dated systems that the homeowners made the difficult choice to tear it down and start over. Easing their pain was the architect’s meticulous eye for detail that gave their new home a classic Shingle look. In addition, the historic facade conceals state-of-the-art energy-efficient systems and technology, including a mini electric plant that generates the home’s electricity.
Photo by Gus Cantavero Photography
“To make a house look historic, we do lots and lots of research,” VanderHorn says. “I looked very carefully at the great architecture of this era.” The year they were going for was 1910, at the end of Shingle style’s heyday.
At the entrance, the sidelights and transom are leaded glass, and the Doric columns and railings were modeled after those found on homes from the era. The porch, sidewalk and steps are New York bluestone. The shingles on the siding and the roof are red cedar.
The architect tended to every detail. He installed weight-and-pulley windows, which are true to the period. As in traditional Shingle homes, the windows are spaced 6 inches apart to allow room for the counterweight pocket. Another detail is the scale of the shutters and how they were hung. VanderHorn used hinges to attach the shutters and make them functional, as they would have been in a 1910 home.
Paint by Benjamin Moore: Boothbay Gray HC-165 (shingles) and Navajo White 947 at 50 percent (trim); windows and doors: Dynamic Architectural Windows & Doors; shutters and shutter hardware: Kingsland Shutter Co.
“To make a house look historic, we do lots and lots of research,” VanderHorn says. “I looked very carefully at the great architecture of this era.” The year they were going for was 1910, at the end of Shingle style’s heyday.
At the entrance, the sidelights and transom are leaded glass, and the Doric columns and railings were modeled after those found on homes from the era. The porch, sidewalk and steps are New York bluestone. The shingles on the siding and the roof are red cedar.
The architect tended to every detail. He installed weight-and-pulley windows, which are true to the period. As in traditional Shingle homes, the windows are spaced 6 inches apart to allow room for the counterweight pocket. Another detail is the scale of the shutters and how they were hung. VanderHorn used hinges to attach the shutters and make them functional, as they would have been in a 1910 home.
Paint by Benjamin Moore: Boothbay Gray HC-165 (shingles) and Navajo White 947 at 50 percent (trim); windows and doors: Dynamic Architectural Windows & Doors; shutters and shutter hardware: Kingsland Shutter Co.
Photo by Gus Cantavero Photography
Perhaps the most important element that contributed to giving the home a period look was the stone. “Stonework looks very new today because masons use diamond saws, which cut too perfectly and take away the handcrafted look of it. In this case, perfect is not better,” VanderHorn says.
He found the imperfection he was looking for with fieldstone reclaimed from an old farm wall. Hammers were used to break up the stones instead of diamond saws. Deeper-than-usual gaps between each stone lend an authentic period look and create a more interesting texture than the more modern technique of grouting the concrete up to the edge of the stones.
Perhaps the most important element that contributed to giving the home a period look was the stone. “Stonework looks very new today because masons use diamond saws, which cut too perfectly and take away the handcrafted look of it. In this case, perfect is not better,” VanderHorn says.
He found the imperfection he was looking for with fieldstone reclaimed from an old farm wall. Hammers were used to break up the stones instead of diamond saws. Deeper-than-usual gaps between each stone lend an authentic period look and create a more interesting texture than the more modern technique of grouting the concrete up to the edge of the stones.
Photo by John Olson Photography
“We used Victorian elements in the entry because Shingle-style architecture was part of the Victorian period,” VanderHorn says. Elements like the turned balusters, oversized newel post, walnut finial and handrail, and millwork all nod to the era. The floor in the entry is black walnut in a herringbone pattern. A secret door concealed by the millwork leads to a storage area under the stairs.
“We used Victorian elements in the entry because Shingle-style architecture was part of the Victorian period,” VanderHorn says. Elements like the turned balusters, oversized newel post, walnut finial and handrail, and millwork all nod to the era. The floor in the entry is black walnut in a herringbone pattern. A secret door concealed by the millwork leads to a storage area under the stairs.
Photo by John Olson Photography
The living room is elegant yet inviting. A plaster relief border on the ceiling is another period detail. A large beaded chandelier adds a casual coastal touch, as does a painting by Provincetown, Massachusetts, artist Anne Packard.
Wall and trim paint: White Dove, Benjamin Moore; flooring: solid walnut, Historic Floors by Stephen Gambel; drapery fabric: Petite Fleur in Lake Blue, Kerry Joyce Textiles; fireplace sconces: Price Glover; chandelier: Angelo, Paul Ferrante
The living room is elegant yet inviting. A plaster relief border on the ceiling is another period detail. A large beaded chandelier adds a casual coastal touch, as does a painting by Provincetown, Massachusetts, artist Anne Packard.
Wall and trim paint: White Dove, Benjamin Moore; flooring: solid walnut, Historic Floors by Stephen Gambel; drapery fabric: Petite Fleur in Lake Blue, Kerry Joyce Textiles; fireplace sconces: Price Glover; chandelier: Angelo, Paul Ferrante
Photo by JMI Photography
The bays along the back of the house face the Long Island Sound and are outfitted with French doors that lead to a long terrace.
White sofa and chair: custom; pillow fabrics: Susani Yellow, Robert Kime (also on ottoman and chairs), Shiraz in yellow and white, Fortuny; Piggly Wiggly Indigo on Oyster linen, Bennison
The bays along the back of the house face the Long Island Sound and are outfitted with French doors that lead to a long terrace.
White sofa and chair: custom; pillow fabrics: Susani Yellow, Robert Kime (also on ottoman and chairs), Shiraz in yellow and white, Fortuny; Piggly Wiggly Indigo on Oyster linen, Bennison
Photo by John Olson Photography
Photo by JMI Photography
“One of the most important changes the homeowners wanted to make was for their modern family lifestyle — a very open arrangement for a large kitchen, breakfast room and family room,” VanderHorn says. They wanted the kitchen to serve as the main hub of the home for their family of six and have enough room for everyone.
The kitchen includes a large island and a breakfast nook. Beams and beadboard ceilings were common in 1910 shorefront homes in the area.
Paint: White Dove, Benjamin Moore; lanterns: The Urban Electric Co.
“One of the most important changes the homeowners wanted to make was for their modern family lifestyle — a very open arrangement for a large kitchen, breakfast room and family room,” VanderHorn says. They wanted the kitchen to serve as the main hub of the home for their family of six and have enough room for everyone.
The kitchen includes a large island and a breakfast nook. Beams and beadboard ceilings were common in 1910 shorefront homes in the area.
Paint: White Dove, Benjamin Moore; lanterns: The Urban Electric Co.
Photo by JMI Photography
A bay provides a cozy spot for the breakfast table and vast coastal views through large double-hung windows. The chair seats are upholstered in a faux leather that’s easy to wipe clean.
Faux leather on chairs: Hedger, Joseph Noble Textiles; drapery fabric: Regello Bay on soft blue hemp linen, Le Gracieux; custom Severn center table: David Iatesta via John Rosselli
A bay provides a cozy spot for the breakfast table and vast coastal views through large double-hung windows. The chair seats are upholstered in a faux leather that’s easy to wipe clean.
Faux leather on chairs: Hedger, Joseph Noble Textiles; drapery fabric: Regello Bay on soft blue hemp linen, Le Gracieux; custom Severn center table: David Iatesta via John Rosselli
Photo by JMI Photography
The family room is open to the kitchen and provides plenty of space to gather. The beadboard and beamed ceiling continues, while the fabric on the walls and sofa along with the rug plays with diamond patterns.
Fabric on walls and sectional sofa: Persepolis, Quadrille; ottoman fabric: Kabba Kabba, Martyn Lawrence Bullard
The family room is open to the kitchen and provides plenty of space to gather. The beadboard and beamed ceiling continues, while the fabric on the walls and sofa along with the rug plays with diamond patterns.
Fabric on walls and sectional sofa: Persepolis, Quadrille; ottoman fabric: Kabba Kabba, Martyn Lawrence Bullard
Photo by John Olson Photography
The other side of the kitchen leads to the back stairs and this butler’s pantry. Interior designer Lee Ann Thornton chose a dazzling blue lacquer for the walls and cabinets, and German silver for the countertops. German silver is a copper, zinc and nickel alloy that was popular in the era. The butler’s pantry is another throwback to homes of the period and leads to the dining room.
Walls: custom-colored lacquered paint finish, Mark Uriu; Studded Tole light: Charles Edwards with Solimena Azure Blue with Old White shade fabric, Fortuny
The other side of the kitchen leads to the back stairs and this butler’s pantry. Interior designer Lee Ann Thornton chose a dazzling blue lacquer for the walls and cabinets, and German silver for the countertops. German silver is a copper, zinc and nickel alloy that was popular in the era. The butler’s pantry is another throwback to homes of the period and leads to the dining room.
Walls: custom-colored lacquered paint finish, Mark Uriu; Studded Tole light: Charles Edwards with Solimena Azure Blue with Old White shade fabric, Fortuny
Photo by John Olson Photography
A stunning combination of Gracie wallpaper and Fortuny fabrics brings color and pattern into the dining room. Antique mirror panels over the fireplace bounce the light around. Another bay with French doors leads out to the terrace.
Paint: White Dove, Benjamin Moore; antique mirror: custom by Vernon Smith; Klismos chairs: via John Rosselli; chair fabric: Cimarosa, Fortuny and Chatham Navy, Garrett Leather; dining table: Rose Tarlow, chandelier: Charles Edwards; rug: Shyam Ahuja; sconces: Price Glover
A stunning combination of Gracie wallpaper and Fortuny fabrics brings color and pattern into the dining room. Antique mirror panels over the fireplace bounce the light around. Another bay with French doors leads out to the terrace.
Paint: White Dove, Benjamin Moore; antique mirror: custom by Vernon Smith; Klismos chairs: via John Rosselli; chair fabric: Cimarosa, Fortuny and Chatham Navy, Garrett Leather; dining table: Rose Tarlow, chandelier: Charles Edwards; rug: Shyam Ahuja; sconces: Price Glover
Photo by John Olson Photography
The drawing room serves as an elaborate man cave for one of the homeowners. The millwork is hand-scraped character-grade cherrywood. “This grade of cherrywood has smaller knots that give it a nice character,” VanderHorn says.
The bookcases are built-in but have feet that give them more of a free-standing furniture look. The room has nautical-inspired details. The fireplace has a boat stern detail on it, and the beams on the ceiling are reminiscent of a ship’s beams. The doors lead out to a covered porch.
Armchairs: Rose Tarlow; Bunny Williams Tray Chic ottoman: Beeline Home with hair on hide fabric by Barclay Butera; drapery fabric: Ibrahim heavy linen, Robert Kime; chandelier: Remains Lighting; rug: Shyam Ahuja; sofa: custom, upholstered in Linen Velvet in Taupe by Cowtan & Tout
The drawing room serves as an elaborate man cave for one of the homeowners. The millwork is hand-scraped character-grade cherrywood. “This grade of cherrywood has smaller knots that give it a nice character,” VanderHorn says.
The bookcases are built-in but have feet that give them more of a free-standing furniture look. The room has nautical-inspired details. The fireplace has a boat stern detail on it, and the beams on the ceiling are reminiscent of a ship’s beams. The doors lead out to a covered porch.
Armchairs: Rose Tarlow; Bunny Williams Tray Chic ottoman: Beeline Home with hair on hide fabric by Barclay Butera; drapery fabric: Ibrahim heavy linen, Robert Kime; chandelier: Remains Lighting; rug: Shyam Ahuja; sofa: custom, upholstered in Linen Velvet in Taupe by Cowtan & Tout
Photo by John Olson Photography
The rec room is sleepover heaven, with a built-in bunk bed nook, TV, large sectional and pingpong table. The bunk beds have a ship’s berth look to them, and sliding barn doors close to conceal the bunks when not in use.
Sectional fabric: Beacon Stripe in Willow, Aqua, Cowtan & Tout; fireplace surround: whitewashed oak
The rec room is sleepover heaven, with a built-in bunk bed nook, TV, large sectional and pingpong table. The bunk beds have a ship’s berth look to them, and sliding barn doors close to conceal the bunks when not in use.
Sectional fabric: Beacon Stripe in Willow, Aqua, Cowtan & Tout; fireplace surround: whitewashed oak
Photo by John Olson Photography
The ceiling looks like whitewashed oak but is actually a wallcovering. Sea grass, wood planks and cool blues round out the coastal look.
The rec room is part of a large walk-out lower level with direct access to the water-facing side of the house. Part of the reason the homeowners wanted to expand was to have enough room for their children’s activities; there is also a dance studio and gym down here.
Ceiling wallpaper: PBS32, Nobilis; pingpong lights: Paul Ferrante; chair fabric: Kashmir Paisley in Tea Blue, Peter Dunham; rug: Patterson Flynn Martin
The ceiling looks like whitewashed oak but is actually a wallcovering. Sea grass, wood planks and cool blues round out the coastal look.
The rec room is part of a large walk-out lower level with direct access to the water-facing side of the house. Part of the reason the homeowners wanted to expand was to have enough room for their children’s activities; there is also a dance studio and gym down here.
Ceiling wallpaper: PBS32, Nobilis; pingpong lights: Paul Ferrante; chair fabric: Kashmir Paisley in Tea Blue, Peter Dunham; rug: Patterson Flynn Martin
Photo by JMI Photography
In one daughter’s bedroom, two alcoves create cozy nooks — one for a window seat, the other for a built-in desk.
Wallcovering: Glam Grass in Maldive Blue, Phillip Jeffries; window seat fabric: Chunari in Sage Blue, Raoul Textiles; desk chair: Ballard Designs; Roman shade fabric: Tulu Kezeban on silk cotton, Annika Studio; String of Pearls lamp, Anthroplogie
In one daughter’s bedroom, two alcoves create cozy nooks — one for a window seat, the other for a built-in desk.
Wallcovering: Glam Grass in Maldive Blue, Phillip Jeffries; window seat fabric: Chunari in Sage Blue, Raoul Textiles; desk chair: Ballard Designs; Roman shade fabric: Tulu Kezeban on silk cotton, Annika Studio; String of Pearls lamp, Anthroplogie
Photo by JMI Photography
The master bedroom enjoys sweeping views out to the water and has its own private balcony. The marble mantel was reclaimed from the old house.
The master bedroom enjoys sweeping views out to the water and has its own private balcony. The marble mantel was reclaimed from the old house.
Photo by JMI Photography
The master bath is crisp white and spa-like. The armchair is covered in terry cloth.
White armchair: custom with Sauna white terry cloth by Holland & Sherry; curtain fabric: Harper sheer in aqua, Carleton V; hanging light: Remains Lighting
The master bath is crisp white and spa-like. The armchair is covered in terry cloth.
White armchair: custom with Sauna white terry cloth by Holland & Sherry; curtain fabric: Harper sheer in aqua, Carleton V; hanging light: Remains Lighting
Photo by Gus Cantavero Photography
On the back of the house, a pergola adds era-appropriate architectural interest. “The pergola also helps bring the scale of the back of the house down and integrates it into the landscape. The wisteria has really taken hold since this photo was taken,” VanderHorn says. The French doors here are the ones we saw in the living and dining rooms. On the top floor, a shed dormer makes room for two of the bedrooms.
On the back of the house, a pergola adds era-appropriate architectural interest. “The pergola also helps bring the scale of the back of the house down and integrates it into the landscape. The wisteria has really taken hold since this photo was taken,” VanderHorn says. The French doors here are the ones we saw in the living and dining rooms. On the top floor, a shed dormer makes room for two of the bedrooms.
Photo by Gus Cantavero Photography
The porch with the bell-shaped roof on the left is just off the drawing room; the balcony overhead belongs to the master bedroom. The large bay on the right is the breakfast nook, and the stone-covered portion on the far right is the family room. The area where you see the umbrella is the pool.
Yes, this is a large home. But it is extremely energy-efficient, which was important to the homeowners: If they were going to tear their home down and start over, they wanted to make it count. It has a geothermal heating and cooling system, a tight envelope (thanks to spray-foam insulation) and LED lighting. It produces its own electricity via a cogeneration system. During peak hours, a small amount of electricity from the grid is needed, but after the family goes to bed, the system puts electricity back into the grid and the meter runs backward. Heat from the process is captured through a manifold system and used to heat the domestic hot water and radiant floors.
Project Manager: Elizabeth Rrogami, VanderHorn Architects
Contractor: Significant Homes
Landscape design: Rutherford Associates
Lighting design: Patdo Light Studio
Audiovisual: InnerSpace Electronics
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The porch with the bell-shaped roof on the left is just off the drawing room; the balcony overhead belongs to the master bedroom. The large bay on the right is the breakfast nook, and the stone-covered portion on the far right is the family room. The area where you see the umbrella is the pool.
Yes, this is a large home. But it is extremely energy-efficient, which was important to the homeowners: If they were going to tear their home down and start over, they wanted to make it count. It has a geothermal heating and cooling system, a tight envelope (thanks to spray-foam insulation) and LED lighting. It produces its own electricity via a cogeneration system. During peak hours, a small amount of electricity from the grid is needed, but after the family goes to bed, the system puts electricity back into the grid and the meter runs backward. Heat from the process is captured through a manifold system and used to heat the domestic hot water and radiant floors.
Project Manager: Elizabeth Rrogami, VanderHorn Architects
Contractor: Significant Homes
Landscape design: Rutherford Associates
Lighting design: Patdo Light Studio
Audiovisual: InnerSpace Electronics
Browse more homes by style:
Apartments | Barn Homes | Colorful Homes | Contemporary Homes | Eclectic Homes | Farmhouses | Floating Homes | Guesthouses | Homes Around the World | Lofts | Midcentury Homes | Modern Homes | Ranch Homes | Small Homes | Townhouses | Traditional Homes | Transitional Homes | Vacation Homes
Houzz at a Glance
Who lives here: A family of six
Location: Greenwich, Connecticut
Size: Six bedrooms, seven full bathrooms and three half baths
Designers: Architect Douglas VanderHorn and interior designer Lee Ann Thornton
In addition to creating a home with historic Shingle style, the family wanted to protect and save the mature trees on their property, including the large beech on the right. Making full use of the third floor via dormers and the hill for the walk-out lower level meant VanderHorn could fit scads of square footage in a footprint that keeps the house at a graceful scale. The roofline and porches also help break up the facade in a pleasant manner.
What is Shingle style?