The residence designed by Evert Södergren & Ralph Anderson reflects a high point in the aesthetic trend called Pacific Northwest Regionalism which peaked in the 1960's and 70's. Both men--each through his own distinct media--fostered the development of this local movement. So the Studio House may be viewed as a case study in Northwest Regionalism.
Acquired as a small beach cabin in the early 1950's, Södergren & Anderson expanded the modest structure in 1972 to nearly 3,700 SF (not including garages & shop spaces).
The expanded structure architecture emphasizes numerous decks which extend from the home's exotic eastern facade toward the water.
Heavily hand-carved pickets -- course in terms of material yet sinuous in design, mirrors the boat oars that cut through Lake Washington below each day. These pickets both support the railings of the hefty decks while beckoning toward the surface of the Lake. Södergren designed and hand-built several small dinghies during his lifetime for personal and family use.
An arch motif, replicated throughout windows, doorways, and original cabinetry, connects the house to the New Formalist movement popular at the time but mostly applied to public buildings such as the Seattle Science Center. The interior floors are covered with a teak parquet, hand crafted, of course, by Evert.
The crowning interior architectural tour de force of Södergren's Studio House is the hand-wrought spiral staircase crafted from floating oaken stair treads splaying from a large, vertical threaded nut. This architectural metaphor for the crafted furniture that Södergren would go on to produce prolifically in the Studio House until his death in 2013, is as strong an illustration of any that architecture is frozen music.
“Music is liquid architecture; Architecture is frozen music.”