ESSENTIALS
Firm Name: Renée del Gaudio Architecture
Principal: Renée del Gaudio
Headquarters: 5595 Sunshine Canyon Dr, Boulder, Colorado
Accolades: Forbes Architecture’s “America’s Top 200 Residential Architects,” 2025; Forbes Architecture’s “America’s Best-in-State Residential Architects,” 2025.
House Name: Betasso Overlook
Location: Boulder, Colorado
Site Specifics: In Sugarloaf, a mile from the trailhead of 1,100-acre Betasso Preserve, 1 acre of rugged ponderosa pine ecosystem marked by meadows and expansive views. Elevation 6,636 feet. Annual snowfall, 79 inches.
Area & Layout: 3,673 square feet, 2BR, 2BA; office; studio; mudroom; laundry room; carport
“Architecture is the language of intervention…it intervenes in biologic, social, and political systems, and as such, architects become builders of ideas.”
—Elizabeth Wright Ingraham (1922–2013), Colorado Architect
Are we there yet? Beyond the actions of the torchbearers among us, have we finally pivoted in how we see and value our houses, departing from the purely egocentric in favor of the ecocentric? From single-minded status- and investment-focused self-interests to—dare we say it—a place somehow closer to representing the greater good? State to state, the work of the Forbes Architecture lists suggests that, at the scale of the architect-designed custom house, it is indeed happening. Taking us beyond the beneficial requirements of building codes, a renewed focus on the relationship between architecture and sense of place, a new regionalism, has become impossible to miss. As a badge of honor, the development has rather clandestinely overtaken “Sustainability,” with its decades of exhausted rhetoric, and not a moment too soon. Just don’t let the deniers know that regionalism and sustainability are essentially one and the same. For now, we get to celebrate, in that we are getting there—closer to reaching critical mass in heeding the advice of Thoreau’s “Walking,” his famous essay calling attention to the lifetime of evercurious detail that awaits the person who commits to learning, within even a 10-mile radius of home, the nuances of their local terrain.
ABOVE: The 1-acre property gets its name from the 1,100-acre premier biking and hiking nature preserve that it overlooks, Betasso Preserve.
David lauer
Dedicated to this very path of unearthing and, moreover, evidence of our progress is the Boulder, Colorado, architect Renée del Gaudio, since 2011 a one-woman shop specializing in site-specific residential work and known for taking on only the small number of projects that she, alone, can handle in any given year. Hers is a commitment to quality control and, ultimately, a far deeper level of overall engagement with the client, the site, and the design-and-construction processes, an approach that stems from having confronted deep personal loss.
Del Gaudio directly experienced Boulder’s 2010 Fourmile Canyon Fire, which destroyed 169 homes, her cabin included, in the process of burning 6,181 acres. For the architect, the fire prompted an existential crisis, an exercise in soul searching and an exploration, amidst the psychologically lingering smoke and ash, of what was essentially called for, architecturally, in the region. She’d leave her position at a prominent, award-winning Denver architecture firm over it, breaking out on her own to begin offering precisely what she had determined the region’s post-fire environment demanded. As part of rethinking her overall creative outlook, she found herself looking back to find the right way forward, materially and formally: in the modest building materials and simple construction methods of the region’s metal-clad miner’s cabins of a century ago, structures built at a time when fires were simply left to burn, del Gaudio found certain truths. It was those discoveries combined with her foundational understanding and appreciation of the importance of “place architecture” (she earned her M.A. in Architecture from the University of Washington, an architecture school with one of the richest regionalist-Modern traditions in the U.S.) that set the course for her future work. Beginning with her own complete rebuild, an expanded house-studio where she and her family would ultimately reside and work (and still do), del Gaudio articulated the fundamental elements of her new architecture. Numerous awards for excellence soon followed, as did new commissions.
Corrugated metal was the final choice for the roof and the exterior wall cladding—decisions born out of a need for greater fire resistance. ABOVE: The front entrance, where the envelope’s dark metal calls attention to the grain of the hemlock-clad soffits and the Douglas fir beams.
David Lauer
“Ask yourself how you hope your space will feel, rather than how it will look,” del Gaudio advises clients who are new to the process of working with an architect. “Avoid looking at precedent imagery too early in the process. Once you, or your architect, gets an image stuck in their head, the creative process is over.” ABOVE: The living area, with its soaring 3″x12″ Douglas fir double timbers.
David Lauer
Now fourteen years in, del Gaudio has recently completed Betasso Overlook, a house located only about 11 miles from her own house-studio. For how it reveals nearly all the elements of her evolved signature, the new house, built for a Chicago transplant with a background in design, is exemplary.
The house’s main architectural gesture is the A-frame-like folded form of its metal roofs—plural because the plan is broken into three distinct volumes (working; living; and sleeping), with each resting on its own concrete pad that’s been distinctly placed to follow the slope of the site and with each interconnected by glass-enclosed exterior hallways. As in all del Gaudio’s work, wood is used prominently for its visceral impact, all of it naturally and boldly treated and effected with precise detailing. Structure, on principle, is exactingly expressed and exposed (in a world filled with things manufactured anonymously offshore, exposed-structure architecture lets us see how a house is actually put together, piece by piece, enabling a greatly deepened connection to it). Perhaps most striking of all, however, is that by moving the circulation to the exterior as the architect has, del Gaudio actively promotes movement between the spaces, which in turn promotes discovery of how the house relates to prevailing winds, to the sun, and to landscape features and vistas—each its own story of the place.
ABOVE: At an entrance to the glass-enclosed hall that connects the bedroom volume to the living-dining-kitchen volume, del Gaudio’s attention to detailing the architecture’s component parts comes into focus. As throughout the house, the fastening of the Douglas fir double timbers is handled meticulously, with precisely placed carbon steel bolts in a black oxide finish.
David Lauer
In the end, Betasso Overlook is the latest example of del Gaudio’s signature response to certain core region-specific questions that she routinely strives to answer, questions that every work of residential architecture should outwardly address but too often do not: Does the architecture “give back” to the landscape as much or more than it takes from it? Does it acknowledge the traditions of the landscape (flooding, extreme cold or heat, wind, wildfire)? Does it anticipate how people will inevitably evolve in their use of the house over time? Does it promote a deeper level of engagement with the place? Indeed, it does.
ABOVE: Taking full advantage of Boulder’s near-300 days of sunshine, the living-dining-kitchen areas, with their poured concrete floors, are designed to easily expand onto patios and decks that face the preserve. Many of the lighting fixtures seen were designed by del Gaudio and fabricated by the client, a vintage lighting expert.
David Lauer
“I want my work to belong to its place,” says del Gaudio. “I craft the architecture until I can no longer imagine it anywhere else but in that specific place. Only then do I feel I have succeeded in creating something authentic.” ABOVE: In the living-dining area, structure and nature seamlessly integrate. The sliding doors, like the house’s windows, are fiberglass frame with aluminum cladding.
David Lauer
ABOVE: In the kitchen, del Gaudio’s typical emphasis on artful simplicity of spatial organization and a master carpenter’s honesty and clarity of materiality and construction is highlighted. The cabinetry is white oak and the countertops are pre-cast concrete, except for the island, which has a quartzite countertop and an ebony stain applied to the white oak.
David Lauer
ABOVE: In the primary bedroom, the floors are done with white oak, while the ceilings, as throughout the house, are finished with hemlock.
David Lauer
ABOVE: The primary bath, also with quartzite countertops and backsplash.
David Lauer
ABOVE: The front elevation of the bedroom volume, with its workspace off the cedar deck and, at left, the glass-enclosed corridor linking the bedroom to the house’s public spaces.
David Lauer
Energy-wise, the house is equipped with a geothermal system, a 9 kW photovoltaic array, and is all-electric, allowing for zero-carbon performance. ABOVE: The interiors aglow under a western sky at dusk.
David Lauer
Renée del Gaudio Architecture