FEATURES

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Along this second-floor, ocean-facing side, all the rooms—living and dining areas, kitchen and adjacent screened-in porch, study and master bedroom—have expansive views, and efforts were made to enhance them. The faceted, 45-degree bays, a common configuration for seaside homes, offer varying perspectives and allow light to stream in. Pockets above transom windows conceal shades when they're not shielding the sun.

Raised on structural pilings, the infinity pool at the back of the house echoes the horizon in the distance. "It just spills over," says Disston. "The main reason I wanted to do that was to eliminate 50 feet of railing so they'd have unobstructed views of the dune and the ocean." A bridge leading to the sea meets the requirement to protect the dune from foot traffic.

Inside, woodwork built by Jim Zizzi references the style of the exterior gables and shutters. Wainscoting and floorboards—mostly quarter-sawn oak—are wide, which suits the space's large scale. Ceilings are decorative: A paneled tray ceiling defines the living room while the cathedral-style in the kitchen features trusses. In the mahogany-floored screened-in porch, the ceiling is made of hand-selected framing lumber.

Meanwhile, Canet designed interiors around a two-color scheme—the first time she'd ever done so. "The homeowner basically came into the first meeting and said, 'I want a blue-and-white house,'" says Canet, who'd just finished another project with Disston. "I tend to work with three colors—no more—but I think it's consistent to have a house in two colors," she says. "Using many shades of blue keeps it from being static, and they all work together."

Canet relied on various tones, textures and shapes to keep things interesting while adhering to the updated traditional look the clients wanted. Sleek, chunky wood pieces, for example, ground the living room, and white sofas with blue piping lend crispness.