Architect's Favorite Pocket Door Details + Hardware

One of my favorite design devices for saving space in a floor plan are pocket doors. You either love or hate them depending on your personal experience. That's mostly due to hardware. And when it comes to pocket door hardware, there's a big difference between the set you can buy at the big box stores and specification-grade hardware that design professionals use.

In the design of my own home, I chose pocket door hardware based on what I could afford at the time (which wasn’t much). And now, every trip to my bedroom serves as a reminder of why I don’t choose things on price alone. As much as I like them for clean, modern spaces, pocket doors aren’t right for every situation.

When to use:

  • Small Spaces: Ideal for bathrooms, closets, and tight areas where swing space is limited.

  • Flexible Designs: transform a room from closed + private to open + connected.

  • Changing Privacy Needs: Useful in rooms where occasional privacy + limited sound control is needed, such as home offices or guest rooms.

When NOT to use:

  • Renovations: When retrofitting a space, pocket doors can be difficult to work into walls that contain plumbing, electrical wiring, or load-bearing elements that can’t be moved.

  • Heavy Doors: less suitable for very large openings because slab weight make them more difficult to operate.

  • Accessibility Limitations: traditional pocket doors are more difficult to operate for those with limited mobility.

  • Frequent Use Areas: Less ideal for high-traffic areas where doors are constantly opened and closed.

  • Acoustical separation: When a high degree of sound control is needed, pocket doors shouldn’t be considered as they’re impossible to seal.

They do require some extra planning and consideration, this is a checklist I work through when designing and specifying pocket doors:

Wall Framing:

  • Field-build the pocket. Many of the frustrations of pocket doors come from using a pre-assembled or pocket door kits fabricated with inexpensive materials. Site-building the pocket allows the best results. I prefer to frame it using LSL studs + plywood which eliminate shrinkage and warping you typically see with dimensional framing. To secure the plywood, you can either fasten it above the ceiling plane (per the detail shown) and below the finished floor or be sure to use pocket screws to ensure you have a completely flat surface to install your wall finish over.
    Pro Tip: Another quick option is to use 1 3/8” solid core doors for the pocket faces. This saves you the framing work and makes for an excellent flat attachment surface. Works great for standard size pockets but not as well for large or custom openings.

  • 2X6 Partitions. All interior partitions are drawn my plans as 2X6 (5 1/2” actual). This reduces the number of interior wall types, easily accommodates basic utility runs (including radon piping) and allows any wall to receive a pocket door now or in the future. Width-wise this fits: the door slab (1.75”), a layer of 3/4” plywood on each side to fasten your wall finish to, the LSL support framing and buffer space for the door to move freely in the pocket.

  • Pad down the header. In load-bearing walls I always want the header set as high as possible so the GC can build down the pocket with layers of plywood to set the subtrack (see below) at the desired height.

Door slab:

  • 7-ply architectural (1.75”), solid core, flush doors are my baseline standard. I generally spec paint grade (with a Poplar or Birch veneer) as I want the door to marry seamlessly with the room it’s dividing. When cost or weight are an issue, you may opt for a 5-ply architectural instead, but I find that the heavier 7-ply slab allows the hardware to function more smoothly and is a tactile indicator of quality. Heavier doors “feel” more luxe. Whatever you choose, just remember to check the weight (architectural solid core doors are VERY HEAVY) and choose hardware accordingly. Here’s a handy calculator.

  • When scheduling these doors, I always call for an additional 1” of slab width so when the door is closed there’s 1” that remains in the pocket. This helps to minimize sound and light leakage at the pocket side and leaves padding for adjustment and less-than-perfect construction tolerances. Don’t forget to add this to the pocket depth too when you’re drawing the plans!

  • The hardware you choose will depend on the door size, weight and thickness so I like to calculate that for the largest slab on the project in this step before moving on to specify the hardware. I think it’s easier to select and specify the hardware based on the largest door in the project and keep the details and framing heights the same everywhere.

  • One additional consideration: how will you finish the door slab if rooms have different color schemes inside vs. outside. My rule (generally): the exterior (hallway/entry side) wall color will dictate the exposed slab edge color for painted slabs and the interior slab face will match the interior room color.

Hardware:

  • Track Hardware. Hafele make the best pocket door hardware in my opinion. My starting point is usually the Hawa Junior 80/B series. Remember to check the weight of the door slab first! The 80 series is rated for doors weighing up to ~176 pounds. If you’re close to the maxing out the rating, always size up.

    • Trolley design: High-quality rollers and machined aluminum tracks ensure smooth, silent operation. The combination of the minimal clearance (1/8”) between track and door and, the pivoting trolley design allows the door to be installed and removed at any time.

    • Soft Close = Happy Home: Built-in soft-close mechanisms and track stops gently slow the door to a stop, eliminating slams and preserving the longevity of your door, the jamb, finishes and hardware.

    • Adjustable: the real genius of this is the subtrack system (this is the B part of the model number). The subtrack mounts to the framing and the trolley track “clips” into the subtrack after the fact. This means you can remove both the door and the track at any time without opening the wall. Need to adjust the pocket side stop, the soft-close mechanism or spring tension? No problem.

    • Bottom track + center guide. I don’t love the default Hafele floor guide, it looks cheap and it has too much friction (I find). So, I usually call for an aluminum pin painted black to be set in the floor away from the pocket edge (so you don’t see it) and then call for a 3/8” wide rabbet in the bottom of the door slab to center the slab on the pin.

    • Options: The Hawa Junior 80 comes in various weight capacities and configurations, including long throw carriers allowing you to find the perfect fit for your specific needs and ceiling or trim finish requirements.

  • Flush Pulls + Locks.

    • Accurate Lock + Hardware are my default option. They offer a good selection of rectangular, modern flush pull hardware with both passage and locking mortise sets in all the standard US finishes. I also like that I can choose between an exposed or concealed fastener look depending on the project’s aesthetic needs. The edge pull activates with a button push and auto-resets when the door is closed at the strike jamb. There are many others, of course: Emtek, Halliday and Ballie, FSB.

    • One tip: confirm with the manufacturer the finish on ALL the components (edge pulls, buttons, thumbturns, locks, etc.) Some of the moving parts on some hardware are only available in brass. The problem is: when you use black hardware - which is quite popular at present - you may be surprised to find to find that the edge hardware is bright brass and not the black you were expecting. Speaking from experience here!

  • Trim.

    • A simple trim elevation clearly references the details and helps you the designer to visualize how all the reveals will fit together.

    • Every project is different but the detail for this project uses reveals milled into a solid wood perimeter trim which is one of my favorites. Here I used a clear finished white oak for trim; if it were painted I’d likely specify poplar.

    • Remember I said above that I like to keep 1” in the pocket? Well, this means you’ll also need to make the strike jamb and one side of the trim is removable to allow this to happen. I like to use concealed rare earth magnets on the back side of the trim to do this, but you could also use Lamello Tenso clips if you prefer.

    • As you can tell, all of this requires careful opening preparation; a mock-up really helps to work out the kinks beforehand.

    • Pay special attention how the strike jamb and head detail interface with the track. With a removable stop on one side, it’s easy to leave an unfilled gap where it transitions from the strike jamb to the head detail, right at the center where the track stops. Mock this up!


Door details and hardware selections are one subset of the thousands of decisions you’ll make when designing a home. There’s only so much information we can layer on to our drawings. For the doors on this project I have: a full set of specifications, a door schedule and a hardware schedule that complement the drawings. This provide the trades all the details and information they need to build it to my standards and according to what my clients are expecting.

Imagine trying to call out all this information on a plan, a detail or simple set of door elevations? This is why I use outline specifications and schedules on all my projects, to cover all the things I can’t (+ don’t want to) draw. If you want access to my outline specification, and all my schedule templates, click below to download them.

They’ll help you simplify your spec creation, reduce the errors on-site, and help you to deliver high-quality projects. Be proactive and specify these details beforehand, rather than react to changes on-site in the heat of battle where changes are most costly.

Revising + Updating the Drawing Set

A recent site visit + client request sets in motion a process every architect is familiar with: redesign + revisions. This is my process for solving real-world architectural problems, from sketching to updating the drawings and documents.

Revisions begin by clearly defining the problem and constraints governing the redesign. All design benefits from constraints, without them the possibilities are limitless. As we’re in construction the restrictions are numerous: there are budgetary, esthetic, physical, legal, and functional considerations. And, of course client preference is chief among them. I’ll often work through solutions that are less than optimal to illustrate shortcomings and to help move the design process forward. Below are a few examples of the initial solutions I developed.

Sketching Solutions

Sketching Solutions

Material Palette for inspiration

Material Palette for inspiration

A ladder clearly takes up the least space in the room, but it’s also the most difficult means of accessing the loft space. As my clients imagined cleaning it and bringing books to and from it, the use cases narrowed. Even though it may be possible to recapture extra space in a home, if it’s not useful or easily accessible, the cost-benefit is questionable.

As we worked through the options, this need for book storage suggested a new opportunity. By shifting the pocket door entry to the north and creating an alcove for the books on the main level we solved a few problems at once. The books found a natural home within arms’ reach and this singular, sweeping gesture on the south wall of the room also created a soffit above for display, increasing the perceived volume of the room and it allowed us to add a small eyebrow window to let light in from above. The soffit and shelf repeated a motif we had used elsewhere on the interiors whereby we nest smaller volumes within larger volumes of space.

Idea becomes sketch. Sketch becomes presentation drawing. Presentation drawing becomes construction drawing. And now, we build!

Outpost Updates - July 2023

To see all the latest progress + the current interior design iteration check out the links below:

Door Jamb Head Reveal Detail

Door Jamb + Base Reveal Detail

Field Report: Framing the Island Outpost

The Outpost project has entered the rough framing phase. This is the point where that initial sketch of an idea is rendered in physical form. For an architect, it's probably the most exciting part of construction and it's taken us many months to get here. Site and foundation work are time consuming and embody a lot of effort, but progress is often slow and much of the work remains hidden in the finished home. By contrast, framing moves quickly and there's much to coordinate between the trades: plumbers, electricians and mechanical subs.

The culture of HGTV has tricked us all into believing that construction happens in the space of a 30-minute show segment. But custom design + construction takes time to complete. And, custom construction on an island takes much longer (I'm learning). That's because building on an island is subject to an entirely different set of rules.

All things being equal, given the choice between plentiful, profitable work on the mainland and work on an island, most contractors have been choosing the work that's easier to access and execute. That's not something I had fully anticipated at the outset of construction and it's proving a difficult problem to solve. The building boom here in Maine has caused a significant labor shortage and that's hindered our ability to secure subcontractors willing to make the journey out to our remote site.

There are no hardware stores, or places to run to if you need an extra bag of concrete. Everything we build with comes from off-island and thus, bringing the necessary materials to the island requires a special weather window and, if it's a load delivered by barge, the right set of tides to land and leave the beach. Winter wind and heavy seas have conspired against us more than a few times too.

The work continues though and I'm thankful for the dedicated crew acting as my hands in the field to realize these ideas in spite of the wind and weather. So too, for generous, supportive clients - dear friends by now - who patiently watch as their home takes shape. To navigate these opposing forces and turn them to your advantage takes skill, hard work and the work of many. And, perhaps that's the reason the creative satisfaction in the end is so great.

My sincere thanks for watching and following along. It really is as much fun as it looks!

South end, guest bedroom looking north

Drive approach looking southeast - Feb. ‘21

North end, entry looking south

Western approach, looking northeast

Southwest end, looking northeast

Drive approach - March ‘21

Master suite looking northeast

View from entry looking east

Living space, looking north toward (future) kitchen

Sketching Details for a House (my analog + digital process)

Sketch with me in this video as I design custom details for the Outpost project. Inventing bespoke solutions to design challenges is the reason I love designing homes. The places you brush up against and interact with each day are a chance to invent novel solutions to common problems like how to hang your coat in a mudroom or an informal flip-down desk to write a check. And, quite often, if I'm stuck on a design brief, I’ll zoom in and begin sketching a detail. There’s something about the scale and how manageable it is to solve simple problems that helps me move forward.

For me, this process always starts with a design brief and my sketchbook (or iPad). Once I’ve fleshed out a few ideas and a direction for the design I’ll move into the computer to draw it more precisely. Starting informally with a sketch allows me to be free and fast with ideas and it leads me to other threads I hadn't anticipated. You'll see this in the video as I chase down a few of the more absurd ones.

Before sketching I also like to compile inspiration imagery (like the military field desks you see in the video) and I make sure to have a ruler nearby as I'm designing. Relating to the human scale is an important part of detailing and a ruler helps you set proper proportions for drawers, desk height, etc.

A trick I use as I'm drawing is to really think hard about the daily patterns of life around the subject I'm designing. How would someone use this space? What would they have in their pockets, what would their daily routine moving through or around this space be like? Placing yourself there and asking what would make this experience better, or more "delightful" leads to novel insights. Delightful is kind of a corny word but it’s the best descriptor I can think of. It's the thing that makes you smile when you see it, and say, “Wow, they really thought this through! They really considered what it means to live here, in this place.”

The point of sketching is to chase down all the bad ideas, all the strange threads of thinking, including the absurd. Be open to thinking differently and the invented solutions may surprise you. It's important to not to put too much pressure on it, these aren’t beautiful drawings, they’re process, they show the steps from one idea to the next.

sketch-like-an-architect-details-blog-1.jpg

Material Palette:

  1. Cork panel “Ebony”

  2. Matte Black - hardware + light fixtures

  3. White Oak Plank Floor - “Wheatfield” by Carlisle Wide Plank Flooring

  4. Felt

  5. Beach stone (sourced on-site)

  6. Cocoa mat

  7. White oak - Whitewashed finish

  8. Leather, Antique natural (Edelman) - desk surface

  9. “Anthra” Zinc

Lighting Design + Drawing Tutorial - My Process

We can build a home from a set of five drawings or a set of fifty, one provides a lot more control over the finished product. Whether your plan set is five or fifty, one of the must-have drawings is an electrical plan. Follow along in this video as I design + draw the architectural lighting plan for the Outpost project. An electrical plan is an essential drawing in every architect’s toolbox, it shows the fixture types, switching, receptacle locations, all the necessary electrical devices + equipment we need to plan for in our architecture. Designing it in coordination with the other essential building systems: architectural, structural, mechanical and plumbing affords us optimal control over the design.

Hidden elements in a project - beams, ductwork, vent stacks - can adversely impact the placement of the visible elements - light fixtures, for example - which is why we plan for them early in the design process. Drawing and overlaying each helps us to identify conflicts in the studio and on paper where it's much more efficient and cost-effective to make changes. See how the abstract concepts of ambient, task + accent lighting are accounted for and applied in the design of the Outpost, a remote, off-the-grid residential project here in Maine.

Resources: