Murphy's Awe

The first thing you notice about Alan Gelbin’s 1964 Murphy House is not the house but the grounds around it. The driveway winds through a grove of mature trees from which scrub brush has been cleared. Gravel pathways are visible as they too make their way through the woods. The home is revealed slowly. First the end of Gelbin’s 1974 studio addition with its wall of mitered glass that extends up onto the roof. Then the sun room addition, a remodel actually of the existing carport also done in ’74, which has been now reworked as a master suite. Finally you are facing the house, which contrary to current practice, seems to almost be an extension of the ground plane, like it grew there in harmony with its surroundings. It didn’t, of course, but was designed and constructed for Peggy Murphy in 1964-65. It’s design by Frank Lloyd Wright student and master-of-works, Alan Gelbin.

Again, even when facing the house, you are struck by the landscaping. There is a peaceful, zen-like feeling even standing in the driveway. All around there are slip-form stone walls, mirroring those in the house, that form planters, stairways, the grill enclosure and retaining walls. Low plantings, small trees and pools of smooth black pebbles complete the look. It is obvious, even before setting foot in the house or on the surrounding decks that Murphy is indeed in very good hands.

Landscaping helps the house join to its surroundings instead of highlighting its existence.

Another small path leads from the driveway, past the flat-roofed woodshed built in 1964 as well, to the reworked patio area. Here the walls and patios look like they have always been there, a testament to landscape architect Wesley Stout’s skill. Paths snake off around trees and small rises. The feeling is of a European park like those I saw in Brussels. The exterior hardscape all seems to have grown from the house itself like the roots of a mature tree.

The new patio part of landscping done by Landscape Architect Wesley Stout

As you stand, facing the house’s northern point, and it is all about points and angles, the architecture begins to reveal itself. Strong roof lines meet at a very sharply pointed overhang supported by two sets of three columns. Beneath the overhang, where the current owners have replaced the original gypsum board soffits with well ventilated cement board, are the windows of one of the three bedrooms in this wing. Walking around to the left and on to the deck you immediately see the next point of this three pointed pinwheel, the deck extension which also ends in a very sharp point and juts out over the pond. On the right you see the mitered glass corner of another bedroom window. Dark wood is everywhere and it fits the house to its environs.

Columns suport the northern tip of the roof.

The mitered window corner of one of the bedrooms

The deck which forms the eastern point of the house.

Continuing around the deck you glimpse different views of pond and woods. Overhead, what look to be copper scuppers protrude from the roofline to propel water away from the house. The upstairs bedroom addition, part of the ’74 work Gelbin did for the homeowner, is visible too as is the entire side of the house past the newer master bedroom suite and studio.

I even like saying the word "scuppers". These appear to be copper.

The "back" of the house

Walking completely around the house you arrive at the front door which has been changed from the original design (which can be found on page 149 of Bill Earls book “The Harvard Five in New Canaan”). Originally there was an overhang and one was met with a wall. One then turned to the left to find the front door. One then walked down a narrow dark hallway before turning the corner where the larger public spaces are revealed, typical of Wright’s influence.

One of the light fixtures, a scupper and the new cement board soffit.

Now, after the ’74 remodel by Gelbin and a subsequent remodel by the current owners, when you face the house you see a glass-walled entry foyer and door that faces the driveway. After walking though the new door you then walk through what was originally the master suite, now a seating area in an expanded living room with built-ins that mirror the double-support shelves in the bedrooms. The effect is arguably the same. The ceiling in the old master suite remains low and the flow makes a slight jog to the left before the massive fireplace wall and sunken seating area is revealed. The fireplace is a massive slip-form box that rises up through the roof. The living room fireplace is, as stated before, massive. It is essentially a box that appears unsupported on one corner. It is not a typical flat fronted affair but angular and functions well as the anchor in the center of the original house.

The chimney.

Behind the fireplace is the huge eat-in kitchen with under cabinet task lighting (original) and indirect lighting on top of the wood cabinets. Adjustments have been made for a new refrigerator but those adjustments can not be singled out as new since the homeowners have, again shown an incredible level of care in preserving the homes look. Noticeable in the kitchen immediately are the kick plates on the doors done by the architect for the original owners to protect the doors from the owner’s dogs. The plates are abstracts of the original house plan.

The eat-in part of the kitchen is probably its most stunning feature. The table, banquette, chandelier and chairs were all designed by Gelbin and look like they could have come from one of Wright’s Oak Park houses. Off the kitchen is the utility room, behind it are the dining room and then the three original bedrooms.

The bedrooms are cool, very cool in a steamship compact berth kind of way. This is typical of Wright’s movement where bedrooms where for sleeping, living was done in the larger public spaces. There are built-in beds, desks, cabinets, bookshelves. They are compact but very cool. They are made even cooler by linens from French Bull which are covered with retro and very colorful patterns.

Passing back through the living space to the new foyer we step into the ’74 addition. Originally a carport then a sun room with a fireplace (1974) the first area has been remodeled into a wonderful master suite with a fireplace. The view from the floor to ceiling windows is the pond and woods and I can’t imagine a more tranquil view to wake up to every morning. Past the master suite is the studio with its built-ins and window wall. There is abundant light and space.

Back past the master suite is the staircase which was originally (’74) free-floating, suspended from the ceiling by cables or rods. It still is but one side is now covered by the master suite wall for its dressing area. Upstairs is a guest room and bath with views of the pond and woods as well as access to the roof.

There is a sense of peace and tranquility that one feels when in and around this house. The approach to living is different than that of some of Noyes and Black-Lee’s works with their open floor plans and yet there is a common thread, separation of public and private space. It works well here and from what I have seen you can cross Murphy House off any endangered house list you may have for it is indeed in attentive and loving hands.

More Pictures.

The mitered windows of the studio

The studio end of the house. The master bedroom windows are at right.

One of the original slip-form stone structures.