The Brains Behind Billionaire Homes

The Brains Behind Billionaire Homes

When
it comes to building a house for a billionaire, money isn’t a
constraint but the stakes can be very high. Here, architects, including
those responsible for creating homes for the likes of Bill Gates and
David Geffen, talk about the challenges of bringing unrestrained
visions to life.

From:
FastCompany.com
| October 2007
| By: Oscar Raymundo

Building
a home is surprisingly similar to designing a suit. With enough time
and care, and money, an architect can tailor a house expertly to fit a
client’s lifestyle. According to some of the most prominent architects
and designers, the craft of building a home for a billionaire comes
down to listening, understanding how various elements compliment one
another, and establishing a relationship with the client — regardless
of the high-priced demands.

"The great gift an architect can give a project, and the client, is
the sense of tailoring, detail, an awareness of posture, the comforts
of a fine lining, the relaxedness of the gentle drape, the ability to
create seductive openings, the taut closing and elegance," says Diane
Lewis, a New York-based architect and a professor at the Irwin S.
Chanin School of Architecture of The Cooper Union. "Architecture has a
silhouette and a cut, too. The whole project from concept to
construction is an exciting unveiling revelation."

Several architects around the country focus on this particular craft
of making a couture home for the few clients who can afford it —
clients like the co-founder and CEO of the Oracle Corporation, Larry
Ellison. To design his Japanese imperial palace of a home in Woodside,
California, Ellison selected Paul Discoe, who is known for masterfully
incorporating Buddhist ideology into practical design. For architects
like Discoe, a strong design philosophy is the guiding force in the
process of construction from the initial blueprint to the "Welcome
Home" doormat stage.

The Philosophy of Design

Enlightened by Buddhism after spending five years in China, Discoe
developed an affinity for Asian design that has been prevalent in his
work ever since. He now considers Asian architecture, particularly
Japanese and Chinese, to be his specialties.

"It is interesting to see how much design is bound by culture," he
says. "Asian architects take Western approaches and aren’t afraid to be
fresh and far out with it, to be really daring. They don’t have these
pre-conceived notions of what a Western building should look like, they
feel free to break from tradition. In the same way, Western architects
play and experiment with Asian themes more freely."

For Discoe it can be as simple as mixing styles and historical
periods, combining the design of a teahouse and a barn. It was this
philosophy that caught Ellison’s eye, as he also has an affinity for
traditional Japanese architecture.

For James Cutler and his firm, Cutler Anderson Architects, nature
plays a significant role in their design philosophy. "We try to
understand the nature of all the components, the institution, the land,
the weather, the flora, the fauna, the materials, so that we can work
with them," he says. "When you work with nature, it takes on a will of
its own, its own spirit. We want to release that spirit."

Cutler, who has been practicing for 30 years, is the architect
behind Bill Gates’s residence in Medina, Washington. He worked with
Peter Bohlin to bring elements of nature into the Microsoft
billionaire’s home complex. In 2007, Bohlin’s firm, Bohlin Cywinski
Jackson, received the Design Award for Custom Housing from the AIA
Housing Committee.

Whether building a home for the richest man in the world or just
another billionaire on the list, Lewis says that money should never
play a part in an architect’s design philosophy. "In the tradition of
the maker-architect, that is an architect who deals with poetics and
can conceive the spatiality detail and texture of a structure, it isn’t
necessary to talk about ‘expense,’" Lewis says. "Great architectural
qualities aren’t intrinsically expensive; the expense is in getting
them implemented in the contemporary market-driven building industry.

Lewis infuses similar principles into her work with the future
brains of the students at Cooper Union, where she is more mentor than
instructor. "I must teach them to build the structure with the
integrity, attention to fine detail, in a non-mercenary state of mind
in order to arrive at a work of architecture; that is the expense:
time, patience, and an elevated state of mind. That’s why it is called
expensive."

The Billionaire in the Home

A client’s demands and the architect’s vision must strike a perfect
balance in order for the house to meet the expectations of the design.
Sometimes this balance is achieved through a collaborative process
between all parties, but most times, especially in building a
billionaire’s home, the client has learned to trust that the architect
will manage to turn their dream home into a furnished reality.

"The better the client the more creative freedom they give you,"
Discoe says. And Larry Ellison was one of those clients. According to
Discoe, it took fifteen minutes for Ellison to draw what he wanted on a
lined piece of paper with a ballpoint pen. "He was very clear and
didn’t care about the cost or the time. It was ten years from that
initial drawing until the full completion of the home."

With all of his billions and no time limit on achieving his housing
goals, Ellison demanded the best. As creatively liberating as that is
for an architect, the fact that so many economical limitations were
thrown out the window placed more emphasis on Discoe’s job and the
final product.

"There was no compromise, no cutting corners, no financial or time
constraints, no pressure only to deliver the best product possible with
expert craftsmanship," Discoe says. "With these expectations, there’s
no one to blame but yourself if something goes wrong."

Fortunately nothing did go wrong. Ellison is satisfied with the
home, and Discoe is currently working on a smaller project for
Ellison’s property next door.

Cutler also takes his client’s expectations into careful
consideration. To make them part of the process, he closely reads his
clients’ written requests, and personally walks them through the
property and relays his design ideas and thought process regularly.
Ultimately, though, Cutler has final word on all the design decisions.

"Each family has a set of needs that they express in their written
program. I’m not going to tell them how to live their lives," Cutler
says. "They give me the landscape and the budget and then I try to
bring all those elements together. This is what we do and how we
operate, if they think they can do my job and don’t need me, then they
shouldn’t hire me."

So far, no one has walked away. To this day, Cutler claims 100%
satisfaction with his clients, including Gates. But he doesn’t talk in
detail about that out of "respect for the client’s privacy."

Peter Bohlin, who assisted Cutler with architecting the Gates home,
and Ron Herman, landscape architect for the Ellison home, expressed the
same concern. It is not uncommon for the high profile client to demand
to have everyone involved in their housing project not speak with the
press due to privacy and security concerns. In fact, a spokesperson at
the architectural firm Gwathmey Siegel wouldn’t even confirm if it was
responsible for Michael Dell’s home in Austin, Texas.

Sustainable Approach

One thing Cutler will go into detail about is how the Gates
residence incorporates sustainable practices. Cutler Anderson
Architects takes an environmentally friendly architectural approach to
its projects. Cutler oversaw the use of recycled timber to construct
the Gates residence.

"The land is a major client. Designing a home is about
choreographing the experience of connecting with the landscape," he
says. "When you emotionally connect with the land, you fall in love
with it. When people love something, they don’t want to kill it. It’s
about changing attitudes, not just changing our technology."

Discoe has been using urban logs, that have been recycled, in all
major construction projects and recently designed a cardboard zendo,
which is like a tent for meditation purposes, for the Burning Man, the
annual creative arts festival in Nevada. He is, however, critical of
the current sustainability movement.

"It’s a fun thing to talk about, but you can’t pretend to care about
sustainability if you drive a car and you fly in planes," he says. "The
use of petroleum is reprehensible. While I was in Japan, I came across
a small village. Everything they needed they got from a quarter-mile
radius, no waste and no imports. That’s truly sustainable."

Although sustainability now seems like a modern trend, Lewis
explains that an architect’s intrinsic knowledge of nature is a
centuries’ old tradition of the art of design.

"In Japan and in Nordic cultures, trees that grow on the north side
of the mountain, tempered by cold wind and shade, are used for the wood
to build the north side of the house, and the southern trees that grow
in heat and sun are used for the south façade," she says. "The
consideration of wind and air circulation, the use of shutters,
screens, pivoting and sliding walls, solar infusion, thermal insulation
from thick storage walls, sunshading with bris soleil [a shading
devices for controlling solar gain and adding stylish features to a
building] construction walls" have all been a prevalent part of
architecture and represent its inextricable connection to the
environment.

These architects believe that a building shouldn’t stand apart from nature; it should complement it.

The Art of Listening

A sure way to get to an architect’s brain is through his or her ear.
When coming up with the perfect, design, it’s about learning to be
quiet.

"If you are patient and you listen, all the pieces — the setting,
the environment, the client, the ground, the budget, the time — will
tell you how exactly they will fit together," says Discoe. "The design
will become clear without having to force it."

An architect’s inspiration comes from the almost surreal way in
which the elements of design all come together, like trying on a
couture suit. Buddhism, or nature, or the posture of the project, every
brain has his or her own terminology to explain the inexplicable art of
design.

"The posture is how the living and the site and the formality of the
construction fit together in a magical appropriate way," says Lewis.
"The cost of the house should be determined from the appropriate
posture of the project."

"It’s like walking into a classroom full of children. When you ask
them a question, they all raise their hands and want to yell out the
answer," Cutler says. "They all want to tell you their story. My job is
to take that cacophony and turn it into music."

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