The renovation of Sutton House in Sutton, Québec by Pelletier de Fontenay does not just preserve history – it transmutes it through its use of white cementitious coating, turning what was once a disparate collection of additions into a unified sculptural presence in the landscape. Rather than following the conventional preservation playbook of emphasizing material contrasts between old and new, the architects developed custom white mineral finishes that unify the building’s multiple iterations while allowing the underlying textures to remain legible. This approach creates a palimpsest effect – where, like an ancient manuscript that has been written over, the original text still shows through.
The decision to use hemp insulation – a bio-sourced material known for its breathability and humidity control – represents a marriage of traditional building techniques with contemporary environmental consciousness. This approach extends to the interior, where a sconce made of repurposed timber from the original structure serves as both functional lighting and a testament to the building’s history. The addition’s deep walls and thick roof echo the primitive heaviness of the original structure, while three distinct blocks frame views of the landscape.
The house employs passive strategies that would have been familiar to the original builders – thermal mass, natural ventilation, solar orientation – but updates them with contemporary technology. The limestone flooring sourced from local quarries serves dual purposes – it connects the building to its regional context while acting as thermal mass for passive solar heating.
The designers expand by saying: “The stepped configuration of the ground floor also helped lower the building’s overall footprint, while creating a natural airflow between the spaces towards the upper level. In the summer, this helps to naturally ventilate the common spaces, while in winter, the warm air is captured and redistributed through the house via the high-efficiency heat recovery mechanical system.”
Photography by James Brittain.
