Launch Slideshow

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David Jameson Retrospective

David Jameson Retrospective

  • David Jameson

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    David Jameson

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    Courtesy David Jameson Architect

    residential architect
    November-December 2010
    ra50
    david jameson architect
  • The structurally hung pavilion has a wind stabilizer, and mechanicals are embedded in the floor, with lines to underground compressors. A truck bed liner material protects the bottom.

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    The structurally hung pavilion has a wind stabilizer, and mechanicals are embedded in the floor, with lines to underground compressors. A truck bed liner material protects the bottom.

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    Paul Warchol

    residential architect
    2011 rada
    Tea House, Bethesda, Md.
    Outbuilding / Grand
  • A 4-inch-thick wood entry door welcomes visitors to the pavilion, used as a tea house, meditation room, and stage for family musical performances.

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    A 4-inch-thick wood entry door welcomes visitors to the pavilion, used as a tea house, meditation room, and stage for family musical performances.

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    Paul Warchol

    A 4-inch-thick wood entry door welcomes visitors to the pavilion, used as a tea house, meditation room, and stage for family musical performances.

  • Bamboo stands and a truss canopy create a sense of journey to the entryway.

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    Bamboo stands and a truss canopy create a sense of journey to the entryway.

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    Paul Warchol

    Bamboo stands and a truss canopy create a sense of journey to the entryway.

  • The floor is made from the exposed end blocks of vertical-grain Douglas fir. The ceiling folds down in the middle, like a dreidel, and echoes the steel cross-bracing.

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    The floor is made from the exposed end blocks of vertical-grain Douglas fir. The ceiling folds down in the middle, like a dreidel, and echoes the steel cross-bracing.

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    Paul Warchol

    The floor is made from the exposed end blocks of vertical-grain Douglas fir. The ceiling folds down in the middle, like a dreidel, and echoes the steel cross-bracing.

  • Jameson thinks of the tea house as a ghost structure: you occupy space inside the floating steel frame.

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    Jameson thinks of the tea house as a ghost structure: you occupy space inside the floating steel frame.

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    Paul Warchol

    Jameson thinks of the tea house as a ghost structure: you occupy space inside the floating steel frame.

  • A folded steel origami stair is suspended in a poured concrete plinth.

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    A folded steel origami stair is suspended in a poured concrete plinth.

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    Paul Warchol

    A folded steel origami stair is suspended in a poured concrete plinth.

  • Circuitous stepping stones set up a procession experience symbolic of cleansing the mind.

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    Circuitous stepping stones set up a procession experience symbolic of cleansing the mind.

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    Paul Warchol

    Circuitous stepping stones set up a procession experience symbolic of cleansing the mind.

  • The patterned cherry ceiling evokes an abstracted tatami mat.

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    The patterned cherry ceiling evokes an abstracted tatami mat.

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    Paul Warchol

    The patterned cherry ceiling evokes an abstracted tatami mat.

  • An allee of walnut casework defines the public areas.

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    An allee of walnut casework defines the public areas.

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    Paul Warchol

  • A computer area occupies a niche on axis with the glass entry node.

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    A computer area occupies a niche on axis with the glass entry node.

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    Paul Warchol

    A computer area occupies a niche on axis with the glass entry node.

  • The smooth opalescence of Corian casework in the kitchen, mudroom, and bath is a textural counterpoint to the white brick and plaster.

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    The smooth opalescence of Corian casework in the kitchen, mudroom, and bath is a textural counterpoint to the white brick and plaster.

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    Paul Warchol

    The smooth opalescence of Corian casework in the kitchen, mudroom, and bath is a textural counterpoint to the white brick and plaster.

  • Removing all the interior walls revealed floor-to-ceiling window openings that couldnt be experienced in the original plan.

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    Removing all the interior walls revealed floor-to-ceiling window openings that couldnt be experienced in the original plan.

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    Paul Warchol

    Removing all the interior walls revealed floor-to-ceiling window openings that couldnt be experienced in the original plan.

  • The skylight-encircled chimney stands as an obelisk.

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    The skylight-encircled chimney stands as an obelisk.

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    Paul Warchol

    The skylight-encircled chimney stands as an obelisk.

  • The glassy living spaces open to a full-length deck.

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    The glassy living spaces open to a full-length deck.

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    Paul Warchol

    The glassy living spaces open to a full-length deck.

  • Site plan for the project.

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    Site plan for the project.

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    Ron Southwick

    Site plan for the project.

  • Image

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    Paul Warchol

  • The ground floor features dark radiant-heated Ardex expoxy floors.

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    The ground floor features dark radiant-heated Ardex expoxy floors.

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    Paul Warchol

    The ground floor features dark radiant-heated Ardex expoxy floors.

  • A series of Miesian boxes fill the interior spaces with natural light.

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    A series of Miesian boxes fill the interior spaces with natural light.

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    Paul Warchol

    A series of Miesian boxes fill the interior spaces with natural light.

  • An exterior view of the house.

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    An exterior view of the house.

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    Paul Warchol

    An exterior view of the house.

  • David Jameson uses storefronts as instruments of light, but he also uses windows as "lenses to the landscape" that edit views of passing vehicles.

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    David Jameson uses storefronts as instruments of light, but he also uses windows as "lenses to the landscape" that edit views of passing vehicles.

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    Paul Warchol

    David Jameson uses storefronts as instruments of light, but he also uses windows as "lenses to the landscape" that edit views of passing vehicles.

  • The ebony or zebra wood casework floats off the ground and "is thought of as a more animated element," architect David Jameson says.

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    The ebony or zebra wood casework floats off the ground and "is thought of as a more animated element," architect David Jameson says.

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    Paul Warchol

    The ebony or zebra wood casework floats off the ground and "is thought of as a more animated element," architect David Jameson says.

  • In contrast to the first floor, the second level of the home features light-colored wood floors and cabinets. The master bathroom vanity uses a limestone top.

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    In contrast to the first floor, the second level of the home features light-colored wood floors and cabinets. The master bathroom vanity uses a limestone top.

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    Paul Warchol

    In contrast to the first floor, the second level of the home features light-colored wood floors and cabinets. The master bathroom vanity uses a limestone top.

  • The glass volumes are oriented toward the North light, and lush tree coverage prevents heat gain.

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    The glass volumes are oriented toward the North light, and lush tree coverage prevents heat gain.

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    Paul Warchol

    The glass volumes are oriented toward the North light, and lush tree coverage prevents heat gain.

  • Despite having dark cabinets, the kitchen draws light from the adjacent double-heigh space and its clerestory windows.

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    Despite having dark cabinets, the kitchen draws light from the adjacent double-heigh space and its clerestory windows.

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    Paul Warchol

    Despite having dark cabinets, the kitchen draws light from the adjacent double-heigh space and its clerestory windows.

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    Anice Hoachlander

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    Anice Hoachlander

    Glass panels in the great room capture the northern light and leafy backyard views.

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    Anice Hoachlander

    The upstairs balcony bridges the master bedroom and the children’s bedrooms.

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    Anice Hoachlander

    Gabled and curved roofs slide past each other, creating an abstract composition and reflecting the division of public and private space.

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    Paul Warchol

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    Paul Warchol

    At dusk, the etched glass-enclosed shower becomes an oversized outdoor lantern.

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    Paul Warchol

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    Paul Warchol

    The concrete plinths and minimally pitched shed roofs are typical of local agricultural buildings.

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    David Jameson Architect

    The Hooper’s Island Residence’s floor plan.

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    David Jameson Architect

    The project’s site plan.

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    Paul Warchol

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    David Jameson Architect

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    Paul Warchol

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    Paul Warchol

    Inside, ribbon-strip African mahogany kitchen cabinets float within the light-filled space.

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    Anice Hoachlander/HD Photo

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    Anice Hoachlander/HD Photo

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    Paul Warchol

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    Paul Warchol

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    David Jameson Architect

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    Paul Warchol

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    Paul Warchol

    A ceiling of CNC-machined mahogany blocks lends a sense of order to an angular and asymmetrical living area.

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    David Jameson Architect

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    Architect David Jameson made a compact, efficient floor plan seem more spacious by injecting a shot of vertical volume into both the living room and the covered patio.

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    David Jameson Architect

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    David Jameson Architect

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    David Jameson Architect

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    Anice Hoachlander/HD Photo

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    Anice Hoachlander/HD Photo

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    David Jameson Architect

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    Paul Warchol

    CUSTOM HOME
    November-December 2009
    Last Detail
    Higher Ground
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    Paul Warchol

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    Paul Warchol

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    Michael Moran Photography

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    Michael Moran Photography

    The interiors move directly into the 21st century, however, with large glass expanses and flexible, open spaces.

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    David Jameson Architect

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    Hoachlander Davis Photography.

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    Hoachlander Davis Photography.

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    David Jameson Architect

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    Hoachlander Davis Photography.

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    Newman and Garrison

    A view of 8850 La Palma Avenue's public face, showing its scale in comparison to that of the nearby residential neighborhood.

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    2003 - The Miller|Hull Partnership Located in the heart of the Pacific Northwest, Miller /Hull's designs have been identified as representing the next generation of regional modernism, also known as the "Northwest Style."

    Image: Olympic College Shelton - Shelton, Washington

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    credit

    The top-floor master bedroom opens onto a rooftop deck. Two floors below, a sheltered outdoor space tunnels through the building, joining its private and public sides.

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    credit

    The top-fl oor master bedroom
    opens onto a rooftop deck.
    Two fl oors below, a sheltered
    outdoor space tunnels through
    the building, joining its private
    and public sides (bottom left).
    Bath cabinets are faced in
    zebrawood veneer (bottom right).

Launch Slideshow

New Projects by David Jameson Architect

New Projects by David Jameson Architect

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    courtesy David Jameson Architects

    "That project really explores the ability to weave space together within the site itself and the house," says architect David Jameson. The appropriately titled Oscillating House employs radiant heating and cooling using a technique Jameson saw used in Austria and Germany.

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    courtesy David Jameson Architects

    A construction image showing the concrete floor and wall panels being installed in the Oscillating House. Jameson is also designing systems to measure the amount of water being retained by the green roofs or being diverted into the water recycling tanks. He hopes to track the amount of water and energy the house conserves over time.

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    courtesy David Jameson Architects

    The Lotus House design generates outdoor spaces that can be used in torrential downpours so residents can enjoy the outdoors despite Hanoi's persistently wet weather.

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    courtesy David Jameson Architects

    "Like a lotus flower," Jameson explains, "we wanted to be able to look through the spaces to create artificial horizons and select views regardless of the weather."

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    courtesy David Jameson Architects

    The petals of the house extend out to capture as much natural light as possible as well as distant views.

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    courtesy David Jameson Architects

    This project is a pool house topped by a studio apartment built adjacent to an existing swimming pool.

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    courtesy David Jameson Architects

    The pool house connects with the water while the apartment turns toward a more natural view."It twists back and forth like your body does when it swims," says Jameson. He incorporated space frame technology to create the torqued structure.

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    courtesy David Jameson Architects

    Jameson describes the Wildcat Mountain Residence as a "modernist agrarian compound." He adds that the design is about the interstitial spaces within the buildings themselves as well as throughout the larger site.

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    courtesy David Jameson Architects

    Jameson's firm is developing a new window system with face-glazing designed for wood interiors.

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    courtesy David Jameson Architects

    This single-family house in Woodside, Calif., is designed for fire- and earthquake-resistance while still taking advantage of stunning views overlooking San Francisco Bay.

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    courtesy David Jameson Architects

    The house is designed around an existing live oak on the site. The organic quality of the tree creates nice tension with the static house,” Jameson says.

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    courtesy David Jameson Architects

    “Redwood portals slide between concrete frames and it’s all stitched together with glazing,” says Jameson, “so you can read the tectonics of both kinds of building systems.”

After 11 years going to work in Alexandria, Va., David Jameson, FAIA, moved his studio to the Tenleytown neighborhood of Washington, D.C. this past May. He did it so he would be closer to home—he now rides his bike to and from the office most days—but he also made the move in order to work farther away. “In the last five years we’ve been having more overseas interest in our work,” Jameson says, “and telling people you’re from D.C. is more recognizable.”

Jameson has won dozens of local and national awards for his artistic contemporary dwellings built in the D.C. area and now his star is rising across more global horizons. Of the 11 projects the firm currently has in progress, five of them are long-distance with locations ranging from southern Virginia to California to Vietnam. The architect also designed projects in Dubai that were never built, he says, “but it did help us understand how to work on something so far away.”

The firm’s recent influx of far-flung commissions is the result of “working hard and lots of luck,” Jameson explains. He took advantage of slow economic times to enter more competitions and send project images to design publications around the world. He also stuck to his scrutinizing standards when taking on new clients. “We continued to be selective about the projects we took on in the studio even during the downturn,” Jameson says. “Every project you do affects other ones in the future.”

It’s easy to see the results of that philosophy when looking over the progression in Jameson’s portfolio. Although his earliest projects received accolades and awards, he continues to devise more inventive concepts. Even his new office, which he describes as being more like an art gallery than an architecture studio, reflects the perpetual refinement in his work. Representations of pieces by Richard Serra, Ellsworth Kelly, Donald Judd, and Martin Puryear adorn the open space and provide some of the best influence to Jameson. “They all have ideas rooted in sculpture,” he says, “and I find tectonic inspiration there.”

Catching the eye of international clients took considerable effort, but designing for remote locations such as Hanoi and Dubai doesn’t present a challenge for the firm. Jameson claims the process is pretty similar when creating a house for a site regardless of whether it’s five miles or 5,000 miles away. “Whether it’s building a house on the shores of Eastern Maryland, or in Hanoi, Vietnam,” he says, “they all have a context and materials specific to the area that informs the way we design.”


Firm specs:

Years in practice: 12 / Firm size: 9 / Active projects: 11 / Projects completed in 2011: 4 / Areas of interest: single-family, commercial / www.davidjamesonarchitect.com