Hillsdale residents champion innovative building material for efficient houses

Steven Bluestone’s passive house in Hillsdale, New York on July 3, 2026. Passive houses are gaining ground in the Hudson Valley.
Photo by Eloise Pickering


Steven Bluestone’s passive house in Hillsdale, New York on July 3, 2026. Passive houses are gaining ground in the Hudson Valley.
HILLSDALE, N.Y. —Two Hillsdale residents are using a lightweight form of concrete rarely seen in the United States to build highly energy-efficient passive houses, hoping to demonstrate a different approach to residential construction.
Consultant Dan Levy has been in the passive house industry for over 15 years, and has built two houses that meet passive house certification standards. He has joined forces with Steven Bluestone — a construction company owner who has built five passive houses and three passive apartment buildings over 13 years — over an appreciation for a type of concrete that’s 80% air.
Passive houses are homes designed to use as little energy as possible, reducing the demands for heating and cooling. They aim to be airtight with double or triple-paned windows and built to work with the sun by having wide overhangs that block summer rays but allow a low winter sun to enter the home.
Levy thinks one of the best building materials for the high-efficiency homes is a type of concrete that’s up to 80% air, but is sturdy enough for multi-story buildings. Autoclaved aerated concrete is a lightweight building material originally developed in 1923 in Sweden. Made from sand, lime, cement, and aluminum powder, the concrete is 75% to 80% air and durable for structures, Levy said. It also has a higher fire rating than regular concrete.
While passive houses are not always built using aerated concrete, Levy and Bluestone have used it for their own homes.
Levy and Bluestone met around 10 years ago in Woodstock, New York, when Levy was building one of the first passive houses using aerated concrete in the U.S. in 2014. He felt relieved when he met Bluestone, as Bluestone had the same idea.
“It’s been so nice to have an ally,” Levy said. “It started to reach the point, finally, where people don’t think I’m crazy. Because if Steve Bluestone can do it, then Dan Levy can do it.”
Bluestone and Levy built the first two certified passive houses using AAC in the country, finishing construction just weeks apart.
Levy has since left his passive Woodstock home and lives in Hillsdale, where he’s built himself another passive house using aerated concrete. Construction took two years, but Levy moved in during early 2025 before it was finished.
Proper insulation is vital in a passive house to ensure inside temperatures remain stable and energy usage stays low, Levy said.
In a traditional wood frame house, insulation fills the middle of the wooden studs — which isn’t optimal, Levy said. In a passive house, insulation should be continuous on the outside, rather than interrupted by studs. In Levy’s home, six inches of mineral wool, an environmentally safe material, line the aerated concrete. Stucco covers the outside of his home, as wood can support mold.
“You couldn’t come up with a simpler building,” Levy said.
Since passive houses are airtight, or as close as possible, bugs and mice are almost nonexistent in Levy’s home, he said. Pollen and dust inside the home is also rare.
Bluestone has lived in his home for 12 years, and is currently building an addition. He used a different insulation than Levy, but both homes use aerated concrete for the structure. Bluestone’s house is also airtight and the structure doesn’t support moisture build up or mold.
Using proper building materials and insulation, passive houses are built so the indoor temperature is consistent, otherwise known as mean radiant temperature. Maintaining inside temperature ensures that comfort is maintained throughout the house and energy usage isn’t dedicated towards temperature differences on surfaces or near doors and windows.
“In the middle of the winter, the walls are kept warm by the heating system because the air is warm,” Bluestone said. “Hopefully no one has a telescope, but I can walk around in my birthday suit when it’s 0 degrees outside, and I’m really comfortable everywhere in the house.”
Both Levy and Bluestone said that AAC and the passive house model could be used to support apartment buildings and multi-story homes. Levy’s house is a duplex, and he does short term rentals in his spare rooms.
“People come to experience it and learn about how this is built or just come to have a comfortable place to stay,” Levy said.
AAC remains relatively uncommon in U.S. residential construction, but it is widely used throughout Asia, the Middle East and Europe, according to a January 2026 report by Strategic Market Research.
“The attitude in the United States is, if this was so good, why isn’t everyone else using it? Well, everyone else is using it. They just don’t live in the United States,” Levy said.
China has over 2,000 AAC plants, while the United States has two. According to Levy, using AAC is about comparable in price to using wood framing.
“I’ve been trying for years to show people we actually can build better buildings,” Levy said.
In addition to supporting an energy efficient home, AAC is reusable. After a house is demolished, AAC can be recycled to make more.
Bluestone has 30 solar panels on his house, and Levy will be implementing solar panels in the near future. Once Levy’s solar panels are hooked up, his house will be close to net zero energy usage, he said. Both houses use systems to limit energy usage in water, heating and lighting.
In Bluestone’s house, a button heats the water before it’s dispensed from the faucet. This limits water waste while waiting for the temperature to rise.
“It’s a little bit here and a little bit here,” Bluestone said. “Passive houses actually have a lot of rules, and one is related to that. They want to make sure that the amount of time that you’re running the water, the sink to get the hot water, is minimal.”
According to Bluestone, passive houses are gaining popularity in the Hudson Valley not just for costs, but because the people who live in the region are more environmentally cautious. That’s why Bluestone became interested in building passive houses and using AAC.
“I think it’s the right thing to do. I do believe in global warming and how it’s gonna affect us, how it is affecting us,” Bluestone said.
Patrick L. Sullivan
This fish took a Wooly Bugger in basic black, with rubber legs. Always get the rubber legs.
Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Every August I shift gears and head to the ancestral HQ with no electricity, minimal plumbing and a warm-water lake chock-full of largemouth bass, not to mention smallmouth, perch, pickerel and panfish. The largemouth are the main attraction.
I used an antique rowboat for years. Then a canoe, which was awkward to manage solo, especially when the wind picked up.
Then I hit on a succession of inflatable pontoon and belly boats, powered by oars and/or swim fins, and there I have remained.
Did I forget to mention that no motors are allowed on this lake? Well, no motors are allowed, and it’s no good arguing that a small electric trolling motor couldn’t possibly hurt anything. Ask me how I know this.
It’s a quiet, rejuvenating few weeks. The phone gets enough signal on one end of the deck to receive messages and maybe make a call if the wind is right. If something comes up, it’s only 15 minutes to so-called civilization.
When not fishing, I read, visit assorted cousins, listen to baseball on the AM radio and/or stare blankly into the middle distance.
Bassing with a fly rod in still water is a different game than chasing trout in streams.
A medium-fast-action rod, 8 to 10 feet, in line weight 7 or 8 is the starting point. The flies are big, and the wind is constant, so the angler needs some power, tempered with a bit of finesse.
I usually bring two rods. One is rigged with a floating line with a heavy front taper for turning over surface flies such as poppers.
The other has either a sink-tip or intermediate line. The lake is not all that deep, and the Woolly Buggers, Clousers and other streamers are heavy. The idea is to stay out of the vegetation while getting close to where the lunkers are hunkered down.
I use short nylon leaders, 7.5 feet with 1X tippet out of the package, and modify them constantly with additional sections of fluorocarbon tippet, snaps and droppers.
Surface action is usually minimal during the day unless it’s overcast. The lake runs east-west, so the angler can track the midmorning and late-afternoon shadows and work those areas.
Or the angler can wait until about 6:30 p.m., when things start to pick up.
Or get out there at the crack of dawn, which is best if surface action is the goal.
For subsurface fishing, some experimentation is required to find the right combination of flies, leader and sink rate. The angler also has to decide whether to troll.
There are a few places where a dry-dropper rig is appropriate, the dry being an extremely buoyant popper with a piece of stout fluorocarbon tippet tied to the bend of the hook and something heavy and wiggly at the end, like a stonefly nymph with rubber legs. (Always get the rubber legs.)
If this sounds like a bobber, it’s because it is. Don’t tell anyone. The purists don’t like it.
A net with a long handle is necessary. There is no leverage when sitting in what amounts to a floating chair.
I do not bring my phone for fish pictures. I will drop it into the depths. Ask me how I know this.
Instead I bring a small point-and-shoot camera. These get lost too, but perversely I have better luck keeping the cheap gear safe than the expensive items.
Sunscreen is applied liberally and frequently. After 50-odd years of being outside, I now have to visit the dermatologist every so often to have my face edited, and I don’t enjoy it.
A baseball cap does nothing for the ears and neck. I have a hat with a wide brim and a vented top, so it doesn’t get too hot. It looks stupid, but this is an acceptable risk.
Finally, a word about the quarry. Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Smallmouth, not so much. These aren’t especially big, but every smallie I’ve ever met thought it was much bigger than it actually was. Expect acrobatics.
Perch usually grab my fly when I don’t want them to.

Panfish are everywhere. They are extremely cooperative. Chasing sunnies is a good way to get a newcomer started.
And then there are the pickerel. These are nasty fish. Very antisocial. I keep a pair of long-handled pliers handy to get the fly out of their mouths safely while admiring the large number of very sharp teeth. They will bite the pliers. Do not use your fingers. Again, ask me how I know this.
Upon release, it’s not unusual to observe the pickerel hanging around a few yards away, glaring and plotting hideous revenge.
So this is the August routine, occasionally leavened with a scramble into a brook trout stream if conditions allow.
It’s peaceful. Kind of boring, in a good way.
And then in the fall the game shifts back to rivers and streams for trout.

Want more of our stories on Google? Click here to make us a Preferred Source.
Natalia Zukerman
Broadway is going way off Broadway when it heads outdoors for The Festival at Hutton Brickyards in Kingston Aug. 14-16, transforming the Hudson River waterfront into a three-day celebration of show tunes, stars and sing-alongs. The inaugural event features an all-star lineup including Audra McDonald, Kelli O’Hara, Renée Elise Goldsberry, Brian Stokes Mitchell and dozens more, along with a 30th anniversary celebration of the musical “Rent” featuring original cast members.
Hutton Brickyards is a former 19th-century brickyard transformed into a historic riverfront hotel and event destination spanning 100 acres along the Hudson. Beyond the nightly concerts, festivalgoers can expect campfire sing-alongs, dance parties, master classes, costume contests and a marketplace highlighting Hudson Valley food, drinks and artisans.
Three-day passes and more information are available at BroadwayFest.com.
Natalia Zukerman
The Crandell Theatre in 1948.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces.
Crandell Theatre in Chatham has spent a century bringing stories to the big screen, and this December the historic theater will celebrate its 100th anniversary with a yearlong tribute to the films, filmmakers and community members who have helped keep it alive.
The celebration continues Sunday, Aug. 23, with a special screening of Martin Scorsese’s “The King of Comedy,” presented as part of the theater’s 100th Anniversary Series by Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences. Kramer will introduce the 1982 film, a darkly comic exploration of celebrity, obsession and the pursuit of fame.
The 100th Anniversary Series invites industry leaders and film experts to share movies that have influenced them and continue to inspire new generations of audiences.
“The King of Comedy” is a fitting selection for a theater whose own story is rooted in the enduring power of cinema. Built in 1926 by Chatham native Walter S. Crandell, the theater opened on Christmas Day of that year with the silent film “Michael Strogoff.” Designed by Glens Falls architect Louis L. Wetmore in the Spanish Renaissance style, the freestanding building quickly became a beloved fixture on Main Street.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces. Sound equipment was added in 1929, allowing the theater to transition from silent films to “talkies.”
Over the decades, ownership changed hands, but the theater remained a gathering place for generations of moviegoers. In 2010, following the death of longtime owner Tony Quirino, the theater faced an uncertain future. Community members rallied to save it, with the Chatham Film Club raising approximately $600,000 to purchase the building and complete critical repairs.
The Crandell reopened as a nonprofit community theater in July 2010. In 2018, the organization officially adopted the theater’s name, bringing together its film programming, preservation efforts and annual FilmColumbia Festival under one mission: preserving the theater as a cultural anchor for Chatham and the surrounding region.
A major restoration and modernization project was completed in 2025, bringing the historic theater up to current standards while preserving its architectural character. The renovation included updates to the auditorium, projection systems and building infrastructure.
For former board member Carol Sadlon, the upcoming centennial represents both a celebration of the theater’s history and a testament to the community that has protected it.
“It has been an honor to serve on the Board of the extraordinarily unique Crandell Theatre, celebrating its 100th birthday this December,” Sadlon said. “Renovating the not-for-profit community theater has been a labor of love and commitment for all involved.”
Sadlon noted that the theater’s creation in 1926 reflected the optimism of the era, and that the same spirit continues today.
“Walter S. Crandell, successful Wall Street investor and native son of Chatham, built the 500-seat theater for a community of 3,000 people,” she said. “Thanks to an equally optimistic group of people, the Chatham Film Club, who purchased the theater in 2010, and a very generous community, the theater lives on to continue entertaining for future generations.”
The Crandell Theatre’s 100th Anniversary Series screening of “The King of Comedy” will take place Sunday, Aug. 23, at 4 p.m.
For tickets and more information, visit crandelltheatre.org.
Natalia Zukerman
MOMIX is one of the featured performers at this year’s Arts Connected fundraiser on Aug. 29.
The Northwest Connecticut Arts Council will celebrate the region’s vibrant arts community with Arts Connected 2026, its annual fundraising event, on Saturday, Aug. 29, from 5 to 8 p.m. at Buck’s Rock Camp in New Milford.
More than a fundraiser, Arts Connected is designed as a celebration of the artists, performers and organizations that make the Northwest Corner’s cultural landscape thrive. Guests can enjoy live music and performances, a curated gallery of artwork by regional artists, local food and drinks, and opportunities to connect with fellow arts supporters. Tickets include hors d’oeuvres, an open bar and all entertainment.

The evening will feature live plein air painting by artists from Plein Air Litchfield, performances by Our Culture Is Beautiful (OCIB), fire performer Cinderfella, and Susan Becker Aziz’s monumental humpback whale puppet, originally created for Paul Winter’s “Missa Gaia.” Guests will also have the opportunity to purchase artwork from a curated exhibition, with proceeds supporting the Arts Council’s mission to strengthen and promote the arts throughout Northwest Connecticut.
This year’s honorary host committee includes Meryl Streep, Diane von Furstenberg, Tim Daly, Téa Leoni, Maria Horn, Patti LuPone, Jack O’Brien, Sam Waterston and Paul Winter. Creative cocktail attire is encouraged, and attendance is limited. The event is open to guests 21 and older.
For more information or to purchase tickets, visit artsnwct.org

Want more of our stories on Google? Click here to make us a Preferred Source.

Want more of our stories on Google? Click here to make us a Preferred Source.