The charred cedar exterior gently basks in the Alaskan sun.

"The cedar siding is simply stained with a black semi-transparent oil stain [from Cabot], which allows the color of the wood to still emerge through,” architect Robert Hutchison says. “We love how the black color makes the building recede into the background, and how it in turn allows the trees on the site to emerge as the highlight.”

“From the street, it appears as a rectangular building with sloping shed roofs, but this is actually an illusion,” Hutchison notes. “The floor plan is actually U-shaped, wrapping around an entry courtyard that is contained by the continuous west facade.” A standing seam metal roof by Custom Bilt Metals blends in with the cedar siding.

Claire and Ken Stevens approached architect Ko Wibowo to create a modern addition to their 1970s home in Tacoma, Washington. The couple’s needs had changed since Ken was diagnosed with Alzheimer’s a few years ago.

A series of charred modern boxes, the home Petra Sattler-Smith and Klaus Mayer designed for Martin Buser and Kathy Chapoton, is organized around views of the Alaskan landscape.

The addition, which includes a bedroom and a bathroom, also boasts an enclosed deck, a feature recommended for those with Alzheimer’s. “Ken used to do the landscaping here,” says Wibowo. “He also put many of the shingles on the original house.”

One of the most astounding views from the house extends all the way to Mt. McKinley, the highest point in North America at over 20,000 feet.

The renovated home maintains its original layout. To refresh the dated appearance of the space, Stonefox added cedar tongue-and-groove panels to the ceiling and refinished the floors. The living room rug is from Creative Matters, the WL Daybed is from Niedermaier, and the circular coffee table is a Tie and Die model from Holly Hunt.

The house that Henri Sayes designed for himself and his wife, Nicole Stock, is distinguished by a cutaway in the cedar cladding that mirrors the angular double-height space within. In the yard, a grassy berm, fashioned from earth excavated for the foundation, takes the place of a fence.

Each side of the home is strikingly different, giving the effect of what critic Alastair Gordon called a “Cubist assemblage.”

The private guest quarters are nestled on the ground floor, while the public spaces (open-plan living-dining room and kitchen on the second level; studio and master bedroom on the top) are elevated to capitalize on views out past the dunes to the Atlantic Ocean.

The geometric exterior encloses an orderly vertical arrangement of living space.

The wood-frame residence and studio are clad in vertical cedar siding—back then, a daring competitor to clapboard—instead of concrete to save costs. The effect is equally seamless, however: “If you drive by it fast enough,” Charles Gwathmey once said, “you still might mistake it for a concrete house.”

The deck offers views and a quiet spot for outdoor dining. The Western red cedar vertical siding is naturally resistant to rot and decay, making it a hardy choice for the exterior. The bronze wolf sculpture is by Sharon Loper.

Though traditionally, three Japanese cedar boards are bound to form a long triangle and a fire is started within the resulting tunnel, Weijnen built a brick oven to accommodate two six-foot-long larch wood boards at a time when he charred his wood in Amsterdam. After removing the planks from the brick oven, Weijnen doused them with water if the fires didn't go out on their own. He used his less successful pieces in the kitchen ceiling.

Bernstein reconfigured the entryway to the street level; guests ascend to the main living space. Ironspot clay tile and FSC-certified cedar clads the facade.

Fujimori demonstrates the process of charring cedar boards. After seven minutes, the length of time it takes to produce the proper amount of char, the boards are separated.

Gray Organschi took down a worn-out 1970s summer home and reinvented it as a serene pair of bleached cedar volumes connected by a glass bridge.

Architects Tiffany Bowie and Joe Malboeuf’s Capitol Hill, Seattle, infill project was completed for $189 per square foot. Its street-facing facade is clad in prefinished siding from Taylor Metals, and cedar shaped and cut with CNC technology. The couple was inspired by the porthole windows of the Maritime Hotel in New York City, one of their favorite buildings.

The custom cedar tub, fabricated by Dovetail, elegantly fits into the master bathroom.

During construction, Mariscal’s team adjusted the design to accommodate the boughs of an old pine tree in the backyard. The unique detail imbues the home with a spirit of wabi-sabi—or beauty through imperfection.

Since surrounding neighbors can overlook the one-story property, Thomson created a roof detail that is environmentally friendly and attractive: “the bio-diverse [green] roof is planted with indigenous species of flowers and grasses,” he says.

The covered walkway is enveloped by cedar planks and lush oak canopies.

Plant Wall Design created a custom, self-sustaining vertical green wall for the show.

A family of cost-conscious Hamburgers converted a kitschy turn-of-the-century villa into a high-design home with a strict budget in place. To unite the quaint masonry of the original villa with the squat, ugly add-on built flush against it, the architects decided to paint the old-fashioned facade graphite gray and then covered the box next door in plain, light-colored larch. Photo by Mark Seelen.

The exterior materials reflect the surrounding environment. Vertical, stained cedar siding, installed in a random pattern, echoes the dark bark of nearby douglas firs, while horizontal, clear-stained red cedar siding similarly recalls the lighter trees. The metal roof and aluminum curtain windows add a modern edge.

Inspired by their clients’ bold art collection, a pair of architects designed a mix influenced Hamptons vacation house that subverts tradition.

This revamped Montreal flat includes a rooftop sauna lined with torrified, or dried, cedar. Outfitted with glass paneling and oriented to capture views of Mount Royal, it is the ideal haven for this hardworking homeowner.

In the shadow of Denali mountain, amid Alaska’s meadows and icy streams, a former teacher and a four-time Iditarod winner calls upon Mayer Sattler-Smith to design a modernist cabin as expansive as the Last Frontier.

The home’s enclosed courtyard sits at “the heart of the structure,” says Baumann, who resides with his wife, Lisa Sardinas, and eight-year-old son, Oskar. “This is clearly the dominant space; everything flexes towards it.” Baumann cast the square concrete floor tiles himself, enlisting the help of his son. A small, neat patch of grass—a playful nod to the archetypal domestic lawn—is edited down to a charming folly.

Wibowo also notes that the window on the bridge between the two structures could eventually be replaced with a door if the couple ever want to build a ramp.

During the 2004 renovation the Wilsons replaced the plywood siding with cedar, and used reclaimed brick to maintain the home’s classic appearance.

A tiny outbuilding offers a cozy living space inside a simple shell.

The 925-square-foot house Maggie Treanor calls home blends into the landscape somewhat; with a galvanized steel shed roof and siding, it looks like a high-design little brother to the barns on the surrounding farms.

Preservation Props Since the house is in a historic district, Beebe and Skidmore’s interventions were constrained by local guidelines, including a stipulation that the walls of the addition couldn’t line up with the walls of the existing house. They bumped the walls in by five feet on either side and painted the addition, clad in siding from Capital Lumber, a color complementary to the original building’s deep, bright blue. “A guy from Boise’s preservation office came by and said, ‘This is a perfect example of how we’d like people to build additions,’” says Dana. “We were pretty proud of that.” beebeskidmore.com capital-lumber.com