the south gate and its garden enclosures. Where Shepherdsville offered that expansive agrarian horizon against which the estate's horizontal planes could stretch and breathe, Somerville draws the composition inward, its quieter village scale echoing the way the hallway narrows here beneath a lowered ceiling plane of oiled walnut, concentrating the light into a single band that washes across poured-concrete walls. The transition is deliberate and almost processional, each step trading openness for compression, the materials growing warmer and more tactile as if the house itself is preparing you for arrival. By the time the corridor releases into the next volume, the shift feels less like crossing a threshold and more like exhaling, the architecture already leaning toward