A northwest modern icon, rooted in landscape and legacy

The interior layout mirrors
the logic of the land.

Thoughtful, layered, and full of light, the main level flows from the living room to the kitchen, dining area, and a spacious family room that opens to the outdoors. A generous deck extends the living space into the trees, framing a peaceful forested view, while downstairs, five bedrooms—including a corner primary suite with its own bath, walk-in closet and private deck—are tucked along a central hallway. Built-ins, original desks, and subtle level changes give the home both architectural interest and everyday livability. It’s functional without ever feeling predictable.

“The three major end-wall areas are each of different height, with widths in proportion. It is as in music — three identical notes are without interest, however if they vary in pitch, they will be of interest.

Further study of the house will show that Miller played, inside and out with these same shapes, or forms, varying them as function demanded.

This subtle juxtaposition of forms moves in and out and around the house. The variations of this theme, occurring constantly across the exterior, set up an ever-changing play of light and shadow, and establish a rhythm that is a pleasure to contemplate.”

Carl Gohs, Northwest Magazine, Sunday, March 30, 1969

Designed by architect James Miller (1931–2012), who was part of the renowned Zaik-Miller partnership.

James was a lifelong Oregonian and a defining voice in Pacific Northwest architecture. Born and raised in Eugene, he graduated from the University of Oregon’s Architecture program before moving to Portland in 1956 with his young family to begin what would become a 50-year career. In 1966, he partnered with fellow architect Saul Zaik to form Zaik/Miller Associates—a collaboration that spanned more than four decades and helped shape the region’s modernist legacy.

Deeply passionate about art, music, literature, and Oregon Pinot Noir, Miller brought a quiet sensibility to his work that balanced clarity with warmth. While Zaik/Miller became well known for their private residential designs rooted in a wood-forward Cascadian theme, Jim was equally proud of his public and preservation work. He led the award-winning restoration and addition to Timberline Lodge on Mount Hood, oversaw key preservation projects at Mount Rainier, Fort Vancouver, and the Oregon Caves, and developed housing at Crater Lake National Park that became a model for Western National Parks—earning both an AIA Design Award of Excellence and a People’s Choice Award for Architecture. Through it all, Miller’s work remained deeply connected to place, material, and community—a legacy embodied in homes like the one he designed for his own family at 2748 SW Talbot Road.

Evelyn Ackerman (1924–2012) played a key role in shaping California modernism through her work in textiles, wood, and ceramics.

Known for her work in textiles, wood carvings, and ceramics, mid-century artist Evelyn Ackerman helped define the California modern aesthetic. The home’s striking front door—an Ackerman design—is quietly remarkable: organic and graphic, yet warm and welcoming. It’s a detail that roots the home in a larger design legacy, connecting Northwest modernism with the West Coast’s broader mid-century art movement.

Material integrity: A study in Northwest woods

All wood in and on the home was chosen with intention—quietly expressive, regionally grounded, and rich in natural texture. The ceilings are constructed of laminated hemlock two-by-fours. Interior walls are finished in rough-sawn cedar with a light, natural stain. Window trim and mullions are made of fir. The roof is composed of 100% vertical grain old growth cedar shakes, and the exterior siding is cedar.