the project

  • Though the floor plan stayed much the same, the Tates abandoned this traditional elevation penned in Loewenstein’s office for its Modern counterpart. Here traditional windows, shutters, and a gabled roof suggest a building more in keeping with the Colonial and Classical. [wli]
  • This rare design development drawing shows a slightly more Modern front façade, with the ribbon windows and boxlike forms. Materially, Loewenstein’s office suggested the fieldstone and wood siding that carried through to the final design. [wli]
  • The modern elevation, nearly as built, counters the design development scheme with the more streamlined windows, instead substituting stock hopper windows, stacked and paired on each side of single-light glazing. The canted butterfly roof appears flat in these elevation views, lending a horizontal emphasis to the scheme. [wli]
  • Notable features of the plan include the indoor/outdoor spaces in the screened porch, the outdoor dining area, and the elaborate entranceway, all framed by vertical walls and edges to define interior space even where, technically, it is outdoors. [wli]
  • Veering from his customary placement of the maid’s room near the kitchen, Loewenstein places a suite (bedroom and sitting room) in the northeast wing of the second floor. Compartmentalized storage defines the dressing room from the master bedroom, and lends a sitting space in the long south-north hallway. [wli]
  • This view of the west (front) and north elevations of the house demonstrates Loewenstein’s mastery in handling materials that tie this building to its North Carolina site. The balcony of the master suite anchors the northwest corner of the structure and provides a space to enjoy nature while under cover of the butterfly roof. [tf]
  • Viewed from across the lake, the horizontal Tate Residence slips beneath the verticals of the trees, setting apart from the natural environment. The use of natural materials, by contrast, grounds the project in its site. [tf]
  • Terraces and manicured lawns inscribe outside “rooms” on the site. Natural materials tie the human-shaped elements to the land. [tf]
  • Large window openings allow visual access from inside the building to the site beyond, linking the interior and exterior experience. Large fixed glass panels occupy the window wall, side-by-side operable, smaller windows. [tf]
  • A paneling system helps to further enclose an outdoor space near the house. Along with the fieldstone walls of the first floor, all of these elements contribute to an overwhelming sense of horizontality in the design. [tf]
  • A pond and fountain provides animation on site, emphasizing movement and light as important design elements. Planting materials supplement the hardscape created by the buildings and paving materials. [tf]
  • The dynamic qualities of the building form cast complex shadows onto the building façades, lending a playful quality to the structure. [tf]

Lloyd P. + Ann Tate Residence
Pinehurst (1952)

This two-story house constructed in Pinehurst represented one of two proposed designs, one traditional (complete with central hall and spiral staircase) and one clearly Modern, demonstrating the firm’s agility in both idiomatic expressions. The language chosen for the Modern version aligns with Loewenstein’s aesthetic: an open plan with built-in storage closets and drawers along hallways, a butterfly roof and large expanses of glass to opened the build and frame views to the site, and the use of indigenous wood and stone. Ann Tate retained the services of interior designer Sarah Hunter Kelly for the home, thus beginning the firm’s association with this New York designer. This 8,000-square-foot building signifies one of only a few Loewenstein two-story schemes in his body of Modern work and included a screened porch, outside eating patio, and a narrow sun porch on the second floor to expand the indoors to the outdoors. The five-bedroom, eight-bathroom house incorporated a live-in maid’s suite on the second floor. A stair, detailed with open risers and railings, connected the two levels at the center of the scheme. This building was demolished in the 1980s.

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modernism in greensboro
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