Fishers Island House by Thomas Phifer
The house plotted in the middle of garden. Hidden behind the copse stand, this transparent pavilion made from light-filtering trellis aligns with the canopy of trees before it. Woven into the landscape, this is architecture of subtlety, a precisely grounded yet quasi-weightless structure, an ethereal rectangle, planted between two existing woods. Like feathery fronds, the trellis reaches toward the bordering leafy branches, while the pavilion’s interior floor plane—fully visible through the glassy, Miesian shell—continues outward, its surface of ebonized bamboo transformed into an exterior plinth of Indian black granite, a walkway, finely striated with shadows from the diaphanous, metal canopy above.
A perimeter path lines the structure’s transparent shell. Freestanding in parallel alignment, the interior walls never meet the enclosure. Instead, they form a virtual box within a box, an implied inner volume. These parallel planes channel long vistas out toward water and garden, only allowing the seascape’s wide, rugged panorama to emerge in full view at the house’s far side. Conversely, from the gardens, this colorful indoor collection projects a presence outdoors.
Light-filtering trellis structure Fishers Island House
In the animated interplay between landscape and art, in the shifting ambiguities between inside and out, the design achieves exceptional balance. An arcing swath of vibrant yellow sedum in the garden resonates with the golden footbridge in a Chinese screen inside; a mossy rock garden projects into the pavilion’s simple volume, while the bedroom nestles into a private apse of garden vegetation. You can look straight through the house without realizing it, but you could also mistake reflections of trees for glimpses through the pavilion. Morphing with the skies, flourishing seasonally, the dialogue evolves, nourishing the owner’s desire to live in the garden—with art.
Parallel line interior Fishers Island House
