“I believe in God, only I spell it Nature,” this quote by Frank Lloyd Wright rings familiar in Aidlin Darling Design’s biophilic approach to the L | J Residence. The private abode is nestled in between preexisting heritage oak trees on a plot of land in Northern California. From the gravel pathway, the home’s 6,466 square feet reads as three main materials: planar walls of cast-in-place concrete, cedar wood-clad enclosures, and a series of metal frames. These elements, alongside interiors and furnishings chosen with the help of Studio Collins Weir, come together to create a series of boxy massing that strategically allows nature to take center stage.
All three materials, although vastly different from one another, draw connections to the surrounding landscape, which was designed by San Francisco–based landscape architects Surfacedesign. The two large, bas-relief concrete planar walls showcase overlapping curved lines influenced from the surrounding flora. Cedar clads the second story and south-facing brise soleil, further connecting to the surrounding heritage oak trees. Lastly, to tie everything together and further accentuate the programming of the L | J Residence, Aidlin Darling Design connected the concrete walls, wooden forms, and glass with sleek black metal frames that set up views of the trees and seating niches in the interior.
The overlapping solid materials of the facade depict a sturdy presence, however, the interiors tell a different story. Inside, eggshell-colored walls and engineered oak floors deliver a calming atmosphere upon entry. The biggest contributing factor to this feeling, however, is from the many glass walls within. Each strategically provides a frame of the nearby landscaping, from the view of the young tree planted in front of a bench to immersive views of the land within the interior and exterior bridge on the second story. This dramatic application of windows allows the outdoors to coexist with the interiors.
On the first floor, the floorplan is open and allows the entry to flow into the living room, dining room, and kitchen. All of these rooms lead to the central point: a double-height living room. To accentuate the tall ceiling, Aidlin Darling Design added a wispy Lasvit light chandelier, collaboratively designed by Studio Collins Weir. It delicately hangs over a slate blue couch and coffee table. The intricate light fixture draws connection to the overlapping volumes of the house and the curved accents found pressed into the flora-influenced concrete walls. Not far away is a more explicit reference to nature: the koi pond, running from the outdoor seating area to within the house and underneath it—all while views of the pond remain in site through a glass floor bridge.
A custom wooden credenza by Studio Collins Weir creates division between the living room and the kitchen. The kitchen is encased in wooden and black metal floor-to-ceiling, built-in cabinets, all tucked under a large wooden capsule as part of the second floor. A white marble kitchen island and countertops by IRG complements the heavy use of wood. The subtle beige marble veins tie to the warm tones in the wood.
The metal language extends from the frames to the black stairwell found at the front of the house, leading to the more private quarters of the home. The second floor differs from the first floor, because it is divided up into numerous rooms, allowing each member of the family of five to have its own individual space. The bedrooms continue the neutral color and material scheme, allowing the surrounding nature to be celebrated through glass. Aidlin Darling Design incorporated the black steel frames in the primary suite by creating two separate reading nooks. Wooden ceiling and cabinetry are met with a dark gray granite stone floor tile by ASN Natural Stone, found in the connecting bathroom suite. The white tub and countertops match the wall color base, creating a spa-like appeal.
Joshua Aidlin, the firm’s cofounder, described L | J Residence as, “Thoughtfully integrating architecture, landscape, and interiors, this residence doesn’t simply sit on the land; it sculpts the ground plane itself, becoming a natural extension of the terra firma rather than an imposition on it.”