History revealed in restoration of Beaufort’s Verdier House front door frame

A couple embarking on a home renovation project in their 108-year-old American Foursquare house made an unexpected and intriguing discovery in their attic. The house, built in 1914, was purchased in probate, and the previous owners, who were hoarders, left behind an extensive collection of belongings. The couple, identified as Reddit user u/_planties and her husband, had to sift through over 3,000 square feet of items left in the house after the former owners’ family only requested a small tote of family photos. Amidst this vast collection, they uncovered a box filled with Victorian-era photographs, dating back to the late 1800s and early 1900s. The initial excitement of finding such historical artifacts soon turned to a chilling realization as they examined the photographs more closely. The couple began to suspect that some of the individuals depicted in the photos might have been deceased when their portraits were taken. This theory stems from the Victorian-era practice of post-mortem photography, also known as “mourning tableaux.” This custom involved photographing the recently deceased in lifelike poses, often with their families or cherished possessions, and sometimes even applying color to their faces to simulate vitality. This practice allowed families to immortalize their loved ones and served as a form of remembrance during a time of high mortality rates. The Redditor shared her findings across various subreddits, including r/Antiques and r/OldSchoolCool, where the discovery quickly gained significant attention, accumulating hundreds of upvotes and comments. Other users expressed their fascination and a touch of envy, acknowledging the historical value and unique nature of the find. Many described the collection as an “incredible find” and “wonderful little pieces of history,” lamenting the common fate of such old photographs being sold off without context or appreciation. The couple has expressed their intention to celebrate these individuals rather than letting their images be forgotten or discarded. The identity of the people in the photographs remains a mystery, but u/_planties plans to connect with the grandson of the house's original builder to see if he can recognize anyone. Until the subjects can be identified, and potentially reunited with their descendants, the couple plans to honor them by displaying the photos within their renovated home. They envision creating a gallery wall along one of their two staircases, utilizing approximately 30 old frames they salvaged from the house during the initial clean-out. This thoughtful approach aims to preserve the legacy of these unknown individuals, ensuring their stories continue to resonate within the walls of the century-old house. #HomeRenovation #VictorianEra #AntiquePhotography #HistoricalFind #OldHouse #FamilyHistory #PostMortemPhotography #RedditDiscovery #HomeDecor

The double doors connecting Mount Vernon’s piazza to the Mansion’s central passage, essential for visitor access and structural integrity, are being replaced after over 60 years of heavy use and exposure to elements. Built in 1954 from young, fast-grown pine, these doors lacked the strength-giving resin of old-growth timber, leading to a shortened lifespan. In 2018, carpenter Amy Harrington McAuley was commissioned to construct new doors using traditional 18th-century hand tools and methods, aiming for an authentic reconstruction of the doors as they would have appeared in George Washington’s era. The project commenced with extensive research into the original doors, which are no longer extant. Architectural Historian Caroline Spurry reviewed archival records, while Preservation Specialist Eric Litchford examined Mount Vernon’s architectural study collection, comprising retired structural fragments. Although the original door pieces were not found, fragments of an 18th-century door from an unknown estate location and the predecessors to the 1954 doors were discovered. Paint analysis on these doors helped approximate their age and provided insights into Mount Vernon's architecture after Washington’s time. It was determined that the 1954 doors and earlier 19th-century doors were bi-leaf (two doors in one opening). This was corroborated by an 1796 watercolor painting by Benjamin Latrobe, depicting the Washington family on the piazza with bi-leaf doors in the background, confirming the form of the original doors. McAuley and the architectural team meticulously measured the existing doorway and doors to understand the construction materials and techniques employed by Washington’s carpenters. The doors utilize a frame-and-panel construction, featuring vertical stiles and horizontal rails joined by mortise and tenon joints. This design allows panels to “float,” accommodating wood expansion and contraction due to temperature and humidity changes without the need for nails. For the new doors, Mount Vernon’s carpenters, John O’Rourke and Dave Weir, sourced old-growth yellow pine beams salvaged from a demolished mill. This type of pine, from ancient, slow-growing trees, possesses exceptional hardness and strength due to its high resin content, making it more durable than hardwoods like oak when seasoned, and was commonly used in 18th-century construction. McAuley began by surfacing the lumber with a scrub plane, followed by smoothing with the grain. A tool mark study conducted by McAuley and Architectural Conservator Steve Stuckey on other Mansion doors revealed subtle grooves, informing McAuley’s choice of planes to match 18th-century techniques. After shaping and smoothing, the lumber was cut to the frame's dimensions, and edges were evened with a jointer plane. The frame assembly involved 24 mortise and tenon joints, requiring precise chiseling of rectangular openings (mortises) through the stiles and cutting slightly smaller edges (tenons) on the rails. Grooves were also cut along the pieces to accommodate the floating panels. Unlike modern doors where moldings are often separate, the Mansion’s doors are self-molded, with decorative profiles carved directly into the frame. The architectural preservation team selected an S-shaped molding, or ogee, prevalent in the Mansion. Lacking a matching plane, McAuley meticulously stenciled the profile, cut grooves, leveled them into steps, and established the curve using round and hollow planes. The joinery of the moldings at the corners presented another challenge. Instead of modern miter joints, the original doors used scribe joints, an older technique where rail moldings are undercut to fit over stile moldings at a 90-degree angle. McAuley, despite her extensive experience, had not previously made a scribe joint. She reverse-engineered the joint by studying existing Mansion doors and an 18th-century door fragment. After consulting an expert, she mastered the complex technique, which involved cutting a precise angle through the molding, thinning it, and gouging out space for a snug fit. This process was repeated 60 times, honing her skill. Once the frame was assembled, McAuley focused on the panels, which required gluing several boards together to prevent warping. She used planes to create the raised field and beveled edges of each panel, working meticulously with and across the grain. The physical effort of running planes across the tough pine yielded beautiful results. The frame was then fastened, with tenons wedged tightly and joints secured with wooden pegs. After approximately 450 hours of work over 36 days, the Mansion doors were completed. These doors, crafted with traditional methods, are expected to last another century, providing future generations access to George Washington’s home. The choice to use 18th-century techniques not only ensured an authentic product but also helped preserve a fading craft, demonstrating a commitment to historical accuracy and traditional craftsmanship. #MountVernon #HistoricPreservation #18thCenturyArchitecture #TraditionalCraftsmanship #DoorConstruction #GeorgeWashington #ArchitecturalRestoration #WoodworkingTechniques

This article details the comprehensive restoration of Marcel Breuer’s "House in the Museum Garden," originally designed for a 1949 Museum of Modern Art (MoMA) exhibition. The house, intended as a prototype for a well-designed, moderately-priced modern home for the average American family, was purchased by the Rockefellers in 1950 and reconstructed on their Kykuit estate in Pocantico Hills, New York. In 2007, the property was transferred to the National Trust, initiating its meticulous restoration by a team from the Rockefeller Brothers Fund. The original design by the Bauhaus-trained Breuer aimed to offer an easily replicable blueprint for modern living, contrasting sharply with the post-World War II proliferation of vernacular-style tract housing. Philip Johnson, founder of MoMA’s Department of Architecture and Design, championed Breuer’s design as an ideal suburban home. While the house was initially an exhibition piece, its subsequent use as a residence over six decades led to numerous modifications, including the addition of a garage extension and the extension of a kitchen wall to the ceiling. The original construction also lacked essential plumbing and electrical wiring, which were later integrated. Furthermore, key elements of Breuer's design, such as flagstone flooring and outdoor spaces, were not fully reconstructed during the initial move. The restoration effort, led by Kykuit’s Senior Curator Cynthia Bronson Altman and Staff Architect Kimberly Miller, aims to balance historical accuracy with the practicalities of a functional residence. This involves reinterpreting certain aspects, such as replacing plywood bathroom walls with more durable glass tile. The team relies on MoMA registrar documents, black and white photographs (and a few color ones by Ezra Stoller), and extensive research to guide their work. Their attention to detail extends to paint colors—scientifically analyzed to match Breuer Blue, chili-pepper red, Navajo white, and milkshake—furnishings, and even fabrics, with some drapery fabrics being custom-commissioned. The popularity of mid-century design has facilitated the acquisition of reissued iconic furniture pieces, including Breuer’s nesting bent-ply tables, the Wassily lounge chair, and Saarinen Grasshopper armchairs. Structurally, the house features Breuer's distinctive butterfly roof, a direct counterpoint to traditional high-pitched roofs. This design not only creates a striking visual but also allows for adaptable interior spaces, including a double-height area capable of accommodating an additional story. Breuer's "bi-nuclear" layout was designed to evolve with a growing family, separating the master bedroom suite from the children's bedrooms, bathroom, and playroom. The house’s flow of space and use of materials are highlighted as significant design elements. Finishes on ceilings, floors, and walls extend outwards, enhancing the sense of spaciousness. The interplay of natural materials such as cedar siding, bluestone flagging, steel for the exterior staircase, and large glass expanses define its aesthetic. The restoration team also addresses unique design choices, such as the "delicate railing of tension cables," which serves as a contrasting element to the architecture's perceived weight. Future plans include reconstructing the outdoor spaces and sourcing additional period furnishings, such as a raffia rug for the living room, to further enhance the authentic feel of the space. #ArchitecturalRestoration #MarcelBreuer #MidCenturyModern #MoMAExhibition #RockefellerEstate #BauhausDesign #HomeDesignHistory #InteriorDesign #HistoricalPreservation

The article details the extensive two-and-a-half-year renovation of a 150-year-old Victorian mansion in West Highland, Denver, undertaken by Jan and Steve Davis. This historic property, originally built in 1875 by Ambrose Bosler, had suffered years of neglect, resulting in a damaged roof, warped foundation, and various structural issues. The city of Denver had even initiated foreclosure proceedings in 2015 due to significant liens. The Davises, particularly Jan, recognized the colossal nature of the project but trusted Steve's expertise as a contractor. Despite having recently completed renovations on a smaller bungalow intended as their forever home, the couple was compelled to purchase the mansion due to a city requirement that the new owners reside on the property. The renovation project faced considerable challenges due to the mansion's status as both a Denver and National Historic Landmark. This designation mandated a rigorous design and construction approval process. The Davises meticulously referenced old photographs to ensure historical accuracy in their restoration efforts. They replaced all the wood trim, painted every piece of molding, and sourced era-appropriate furnishings from antique stores. Architect Jessica Reske guided the reconstruction of the home's distinctive brick tower, which had been removed decades prior, offering panoramic views from Pikes Peak to the Flatirons. Architectural elements, such as the exterior molding and iron detailing, were carefully replicated with the help of Tabor Millwork and Architectural Iron Company. Inside, the home’s layout was reconfigured to include an elevator, a request from Jan to facilitate aging in place. The original window openings, protected by the landmark status, dictated the placement of new features, such as custom vanities in the main bathroom and the kitchen sink within an island due to low window sills. Many interior upgrades drew inspiration from the home's original design: new interior doors were modeled after the single surviving original door, antique chandeliers and sconces from Bonnie Brae Lighting & Repair mirrored period fixtures, and a walnut-and-ash inset in the white-oak entryway floor replicated the original. This approach aimed to blend modern functionality with historical character, making the house feel both new and inherently old. To address the challenge of making the cavernous rooms with 12-foot ceilings feel inviting, Jan enlisted Amy McCawley of Lusso Interior Design. McCawley introduced contemporary touches, including Benjamin Moore’s gray-green Croquet paint on the kitchen cabinets and a sleek marble fireplace in the living room. Antique-looking hardware and family heirlooms, such as a gold mirror and a chest, further integrated the home's historical and contemporary aesthetics. In the main bedroom, a blend of new furniture like a Pottery Barn bed and Benjamin Moore’s Graytint paint color harmonized with family antiques, such as a blue chair from Steve's grandmother and an antique side table. Similarly, an heirloom carved-wood lamp, once part of Steve’s childhood home, found a new place in the living room. Outside, Jan, a Colorado State University-certified master gardener, transformed the expansive front yard into a lush green space. She designed a potager garden near the kitchen and a wild, organic English garden filled with agastache, peonies, cardoons, and salvias, providing natural privacy. Laurel Raines of Dig Studio planned the garden and the hardscape, which included a patio and dining area off the kitchen and a walkway of Borgert stone pavers. Perimeter hedges were planted to further enhance privacy from the street. The Davises' overarching philosophy throughout the project was to “do the right thing for the house,” a principle that ultimately benefited them as well, creating a harmonious blend of historical preservation and modern living within a revitalized landmark. #HistoricRestoration #VictorianMansion #HomeRenovation #InteriorDesign #LandscapeDesign #ArchitecturalPreservation #DenverRealEstate #WestHighland

New England's extensive collection of aged housing stock often presents a complex history within its structures. While some homes clearly showcase their original character through well-preserved elements like floorboards and bannisters, many others have undergone numerous alterations over the decades, leading to a significant divergence from their initial design. This article explores the growing trend of restoring historic homes, emphasizing how owners can revitalize lost character while simultaneously integrating modern functionalities. Walter Beebe-Center, president of Essex Restoration, highlights that nearly every historic home has experienced remodeling, often resulting in the removal of beautiful original features and the addition of elements that are out of context. For new owners of these properties, this means their homes may lack much of their early aesthetic appeal due to generations of updates. The process of restoration offers an opportunity to bring back the home's authentic character, whether aiming for museum-quality accuracy or simply reintroducing nostalgic touches, all while making the space suitable for contemporary living. Sara Berndt, a homeowner in West Medford, exemplifies this approach. Over three years, she meticulously uncovered the original layers of her folk Victorian home, dating back to at least 1910. Her primary motivation was not to impose a new style but to restore the house to its original state, thus preserving its legacy. This often involves undoing previous, sometimes improper, renovations that may have diminished the home's historic integrity. Nathan Goodwin, a historic preservation carpenter, underscores the importance of thorough research into a home's original appearance. He notes that many quick-flip renovations often neglect the thoughtful process required for historic restoration, leading to hastily assembled modifications. Goodwin advises homeowners to delve into the historical context of their homes, understanding why they were built in a particular way. Peter Smith, who directs North Bennet Street School's preservation carpentry program, describes the process as "forensic carpentry." He explains that most people are not trained to properly assess historic homes, often mistakenly viewing them as tear-downs. Smith emphasizes the need to understand the built environment by carefully peeling back layers to read the historic fabric, connecting tangible history with academic knowledge. While authenticity is crucial, Beebe-Center points out that not every original feature will be relevant to modern life. He suggests a balanced approach where historic aesthetics are blended with modern practical functions. This might involve opening up a small, historically accurate kitchen to create a more functional space, while preserving a formal parlor. The goal is to make harmonious changes that allow the house to be functional in the 21st century without sacrificing its aesthetic integrity. The restoration process can be time-consuming due to the need for period-appropriate materials and traditional methods, which contrasts with the often-misleading timelines presented in modern renovation shows. Smith, for instance, sources lumber from local mills for historic timber frame construction, a practice that requires more patience than using materials from big-box stores. Specialists like Goodwin are in high demand, with long booking times, underscoring the scarcity of skilled historic restoration professionals. Projects can range from strict historic preservation to a combination of restoration and modern renovation. Defining the specific historical period to be referenced is key to establishing a cohesive philosophy for refurbishment. Resources such as old photographs, neighborhood tours, and even remnants like wallpaper scraps can provide valuable clues about a home's original colors and architectural details. For those daunted by a full-scale restoration, experts recommend starting small, perhaps focusing on two rooms or the facade. Prioritizing details like moldings, door casings, and window trim can significantly enhance a home's historic quality. Windows, often overlooked, are critical style indicators; well-maintained 100-year-old windows can last another century if properly restored, proving more durable than many modern replacements. Additionally, salvaging period-appropriate fixtures and fittings from places like The Old House Parts Company can provide simple yet impactful ways to restore historic character to a home. #HistoricHomeRestoration #HomeImprovement #NewEnglandArchitecture #PreservationCarpentry #HistoricRenovation #ArchitecturalDetails #RealEstate #OldHouseParts

The article provides an intimate look into the Sunfish Lake home of antiques dealer Robert Riesberg and his wife, Christine Hartman, which doubles as both their residence and a by-appointment-only gallery for Riesberg's business. Their Federal-style house, built in 1925, is characterized by a blend of traditional design and warm hospitality, furnished with museum-quality 17th, 18th, and early 19th-century antiques, art, objects, and rugs. Riesberg, with over 50 years of experience, emphasizes buying pieces he would personally want to keep, noting that this passion drives his successful career. The home features a series of formal rooms, including a front parlor with a mahogany drum table, sideboard, and a 1760 cherry New England flip-top secretary desk, with walls painted in Benjamin Moore’s Rosy Apple. A light-filled formal dining room and gallery, added by Riesberg, is used for parties and family gatherings, showcasing French Louis XV rococo console tables with rare brèche d’alep marble from approximately 1760. The exterior of the home maintains its Federal-style architecture, while the kitchen, though the least formal space, is adorned with 18th-century Windsor chairs and Delft tiles depicting manganese figures from the same period. Creative design solutions are evident throughout, such as a small closet ingeniously converted into a walk-in bar with a Dutch door. The sunporch, featuring terrazzo floors and shelves filled with Delftware, opens to a grape arbor, offering a serene space. The fireplace mantel and paneling were custom-designed based on Connecticut fireplace patterns, symmetrically decorated with blue-and-white 18th-century Delftware. The central hallway boasts ash and walnut flooring modeled after traditional French parquetry, complemented by 19th-century oil landscapes, a late 18th-century portrait, and a Regency commode from around 1710. Riesberg’s study, designed with Connecticut inspiration, features millwork painted in a custom green and houses a substantial collection of books and catalogs on antiques, art, landscaping, and architecture. The article also includes five tips from Robert Riesberg and Christine Hartman for incorporating antiques into one's home. These tips encourage individuals to discover their personal taste by visiting various sources like museums and antique shops, and building a file of preferred items. They suggest taking inventory of existing belongings to identify pieces that don't align with one's aesthetic or function, thereby creating space for new acquisitions. The couple advocates for broadening one's scope beyond furnishing a room strictly by a singular period, encouraging the mixing of contemporary furnishings with antique gems to create a space that reflects individual taste and personality. Riesberg advises understanding the craftsmanship of antiques, particularly those made before the machine age (pre-1840), to appreciate their design details and value. Finally, they recommend taking a slow approach to building a collection, emphasizing that a few beautiful, well-chosen pieces are more valuable than a multitude of mediocre ones, and that truly beautiful homes evolve in stages. #HomeDesign #InteriorDesign #Antiques #FederalStyleHome #VintageDecor #HomeTours #LuxuryInteriors #CollectingAntiques

Interior designer Nicole Fisher of BNR Interiors transformed a four-bedroom, builder-grade row house in Hudson, Upstate New York, into a vibrant home with British charm. The initial state of the house, purchased by a developer, lacked character with generic hardware store moldings and fixtures. Fisher's primary goal was to infuse personality and warmth into the space, moving away from the common 'white on white' aesthetic prevalent in the region. The design process began with selecting a cohesive color palette, largely inspired by House of Hackney’s Avalon wallpaper, a striped and floral pattern used in the dining room. This wallpaper dictated the selection of 14 different paint colors applied throughout the house, aiming to create a distinctly British, rather than farmhouse, atmosphere. The homeowners, being British themselves, were receptive to a bold and layered approach to interior design, having previously embraced unconventional choices like a lime green kitchen in their London home. Fisher embraced the British tendency for playful interiors, characterized by multiple patterns and layers, creating spaces that feel timeless rather than confined to a specific era. The philosophy was to choose elements that the homeowners loved, ensuring they would work together harmoniously if executed correctly. A significant feature of the renovation included the incorporation of two hidden doors—one leading to a pantry and another in the TV room. These hidden spaces serve both functional and aesthetic purposes, providing privacy in a house where the entire length is visible from the front door, and offering practical solutions for entertaining by concealing clutter or creating a 'speakeasy' feel. Attention to detail extends to specific rooms, such as the primary bedroom, where multiple patterns are successfully integrated. The key to this success lies in a common color thread, specifically a cranberry hue, which is consistently pulled through various elements like the bed, wallpaper, and chair tassels. Additionally, Fisher employed variations in scale, combining small and large patterns, such as a chunky floral fabric from Liberty (which held sentimental value for the homeowner as her wedding dress designer) for the headboard. This approach creates a collected, aged feel, reminiscent of a modern grandmother's country house, avoiding a 'too new' or 'too precious' ambiance. The kitchen also showcases unique finds, including a faux marble island sourced from 1stDibs. This island, with its colors complementing the chosen wallpaper, became a central element that set the tone for the rest of the kitchen, contributing to the overall layered and inviting aesthetic Fisher aimed for. Other notable design choices include Sanderson’s Stapleton Park Wallpaper in the dressing room, Farrow & Ball’s Potted Shrimp for the den walls, Phillip Jeffries’s Island Raffia in the living room, Cole & Son’s Frutta e Geometrico in the bar area, Soane’s Scrolling Acanthus in Bloom in the primary bedroom, John Derian wallpaper in another bedroom, and Scalamandre’s Magnus in Indigo Blue in the laundry room. These selections highlight a rich interplay of patterns, textures, and colors, successfully transforming a generic space into a home filled with character and warmth, deeply influenced by British design sensibilities. #InteriorDesign #HomeRenovation #BritishCharm #PatternMixing #WallpaperDesign #ColorPalette #HiddenDoors #HudsonHome #BNRInteriors

The article explores the evolution of the Williamsburg brand, which has shifted from merely reproducing 18th-century colonial furniture and decor to creating contemporary pieces inspired by historical archives. Historically, residents of Colonial Williamsburg were influential in American high style, importing trends from prominent 18th-century London cabinetmakers. The restoration efforts initiated by Rev. Dr. W. A. R. Goodwin, John D. Rockefeller, and Abby Aldrich Rockefeller in the late 1920s solidified Williamsburg's reputation as a bastion of American traditional style and helped popularize Colonial Revival-style architecture. The initial Williamsburg brand collections launched in 1936 to meet consumer demand for colonial reproductions. Kiri Franco, Director of Brand and Licensing for Colonial Williamsburg Foundation, highlights the brand's adaptation to modern living, noting that contemporary interpretations often surprise people with their "trend meets tradition" aesthetic, especially in collaborations with licensees like Global Views, Robert Abbey, and Capel. Williamsburg Licensing’s associate director, Liza Gusler, and senior brand designer, Jillian Pyle, emphasize that new product introductions often derive from design elements discovered in the foundation's extensive archives, which house over 70,000 items. These archives provide inspiration for innovative products that bear little resemblance to the original items or traditional reproductions. An example is the Shoe Buckle Mirror from Global Views, inspired by an 18th-century shoe buckle. The process involves curators and designers exploring the archives to find graphics, shapes, or details that can be reinterpreted into new, contemporary designs. In a significant move, Williamsburg introduced its first Designer in Residence, Anthony Baratta, who reimagined the interior of the historic Palmer House (circa 1750) on Duke of Gloucester Street. Baratta, known for his eclectic, all-American, and maximalist style, was invited to furnish and decorate the 18th-century home with a fresh take on Americana. Due to the home's historic designation, structural changes were not permitted, so Baratta focused on paint and furnishings. He utilized a palette of historically accurate primary colors (vermilion, blue, yellow, and green) in various rooms and incorporated a mix of traditional Williamsburg reproduction furniture, contemporary Williamsburg products, and antiques from his personal collection. Baratta’s design approach involved blending different eras and styles. In the living room, he combined a Victorian balloon-back armchair, a Duncan Phyfe-style sofa, and a Chippendale-style wing chair. Accessories included neoclassical-style urns and traditional brass candlesticks. In the dining room, he paired Caskata’s Blue Marble dinnerware, inspired by antique hand-marbled endpapers from the archives, with Mottahedeh’s traditional Imperial Blue dinnerware. The master bedroom featured a brass bed once owned by Gore Vidal, Robert Abbey swing-arm reading lamps, and a metal sculpture from Global Views inspired by 18th-century clock hands. He also layered the walls with contemporary paintings, vintage prints, ship models, and dioramas from his collection alongside reproduction artwork. Baratta's residence at the Palmer House provided an immersive experience, allowing him to create a lived-in feel rather than a period-specific show house. Future plans include another Designer in Residence and new collaborations that extend beyond traditional home interior spaces, showcasing Williamsburg's continued evolution in home design. #HistoricPreservation #HomeDecor #InteriorDesign #HistoricHomes #Williamsburg #AnthonyBaratta #ColonialRevival #DesignEvolution #ProductInnovation

The Demolition Depot, located at 216 East 125th Street in East Harlem, serves as a unique repository for vintage architectural elements and historical artifacts. Established in its current location in 1996 by Evan Blum, the business builds on over four decades of Blum's experience in salvaging architectural ornaments. The depot stands out on 125th Street, presenting a contrast to modern construction with its four-story building filled with items that evoke a bygone era of elaborate home design, featuring rich paneling, ornate chandeliers, and detailed stained, leaded, and beveled windows. The collection within the Demolition Depot is meticulously organized across its four floors. The ground floor showcases an extensive array of lighting fixtures, ranging from chandeliers to candelabras, alongside various hardware and display cases filled with smaller, valuable items. The second floor is dedicated to a diverse selection of windows, including stained and leaded glass, as well as decorative ceilings and doors. Moving up, the third floor features a significant portion of their fireplace mantel collection and additional doors. The uppermost floor, the fourth, is where plumbing fixtures, mirrors, and the remainder of their fireplace mantels are housed. This specific collection of mantels was relocated after the City acquired a neighboring building through eminent domain. Evan Blum's salvage projects have contributed many significant pieces to the depot's inventory. Notable acquisitions include elements from iconic New York City establishments such as the Commodore, Biltmore, and Vanderbilt Hotels, the Audubon Ballroom, the Loew’s Delancey Theater, the Helen Hayes Theater, and the New York Life Insurance Building. These items are often accompanied by their historical narratives, which knowledgeable staff are available to share with visitors. For instance, the depot holds Herter Brother doors originally from the Palmer Mansion in Chicago, a German Renaissance fireplace mantel once owned by John D. Rockefeller Jr., and a chandelier from Oscar Hammerstein’s office. Each item is tagged with a number for easy retrieval of its description and price. Motion sensors activate lighting as visitors move between floors and stairwells, and the premises are often patrolled by resident house cats. Beyond selling salvaged pieces, The Demolition Depot offers consulting services for large-scale projects and maintains a network of skilled tradespeople for restoration and installation work. The company facilitates international shipping, having recently sent an antique bar to Germany, light fixtures to Hong Kong, and bathroom fixtures to Australia. They also possess the capability to replicate almost any item for clients requiring replacement pieces. The Demolition Depot has attracted the attention of the entertainment industry, serving as a resource for movie producers seeking vintage items, such as for Baryshnikov’s apartment set in 'Sex and the City,' and for television shows like the 'CBS Early Show,' 'Good Morning America,' and 'The Today Show.' The entire building has also been rented for photo shoots for publications like Vogue and New York Magazine, and for episodes of 'Law and Order: Criminal Intent.' In addition to its Harlem warehouse, The Demolition Depot operates a showroom in Middletown, Connecticut, and maintains an active online presence through its website and Facebook page, making its unique offerings accessible to a broader audience. #ArchitecturalSalvage #VintageDecor #EastHarlem #HomeRestoration #NewYorkHistory #AntiqueFixtures #InteriorDesign #HistoricalArtifacts #ArchitecturalElements

John Carlton, owner of Brighton-based Historic Door, specializes in the restoration and recreation of classic portals found in historic Boston neighborhoods like Back Bay, the South End, Beacon Hill, and Charlestown. With a background as a carpenter, cabinet maker, and furniture maker, Carlton ventured into the door business in 2005 after a customer requested a historic door replacement. He recognized a market opening and was inspired by a master woodworker's passion for door projects. Carlton now operates a niche, one-man business, handling everything from design and construction to locks, finishing, and installation. His diverse skill set allows him to tackle intricate projects, with minimal competition in his specialized field. Carlton's work involves a direct, 100-percent custom approach, fostering a close connection with homeowners and their projects. He likens his craft to that of an antique restorer, given that some of the doors he works with date back to the 1830s. His expertise combines the skills of a furniture maker, antique restorer, and architectural historian. Approximately 70 percent of his time is dedicated to creating new doors, while the remaining 30 percent focuses on restoring original ones. For new installations where an authentic door is absent, Carlton conducts thorough research, often by observing neighboring doors to inform his designs. Historic doors distinguish themselves from modern entryways through various unique features. They are considerably thicker and frequently incorporate beveled and etched glass in their windows. A common decorative element is bolection molding, which projects beyond the door panel. Carlton also meticulously selects authentic-looking knobs and locks to maintain historical accuracy. The restoration of an old door typically spans one to two months, whereas the creation of a new door requires a few months longer. Carlton dedicates approximately 128 hours in his workshop to complete a single door. His most notable project is a door he crafted for 57 Commonwealth Avenue, made from quarter-sawn white oak with custom carvings, turnings, and intricate blacksmith work. This project involved integrating original blacksmith panels with gold leafing into the new doors and outfitting them with high-end door knobs from E.R. Butler & Co. Carlton expresses a deep passion for his craft, viewing it as a synthesis of various advanced woodworking skills and the ability to replicate or restore historical elements. He finds satisfaction in his work being prominently displayed as the "public face" of a building, allowing him to regularly appreciate his creations. His commitment to detail and historical authenticity ensures that Boston's iconic doorways retain their original charm and structural integrity for future generations. #HistoricDoor #BostonArchitecture #DoorRestoration #CustomWoodworking #ArchitecturalPreservation #JohnCarlton #HomeDesign #Craftsmanship

Pocket doors, a feature where a door glides into a wall rather than swinging open, are experiencing a significant resurgence in home design. This renewed popularity is driven by their ability to save space, offer versatile use of rooms, and add a touch of dramatic flair to interiors. Designers universally praise pocket doors for their clean aesthetic and practical advantages, especially in compact areas such as bathrooms, closets, and pantries, where traditional swinging doors might obstruct movement or functionality. They provide flexibility in design without compromising style, fitting seamlessly into both modern and traditional home aesthetics. The increasing trend towards closed-concept layouts, moving away from the previously dominant open-plan designs, also contributes to the comeback of pocket doors. Homeowners are seeking ways to create distinct zones within their living spaces without resorting to permanent walls. Beyond interior applications, glass pocket doors are being utilized on home exteriors to maximize natural light and foster an open, expansive feel. The ability of pocket doors to disappear into the wall when open allows for unobstructed pathways and a more fluid transition between areas. When closed, they can create a sense of privacy and separation, acting as a statement piece that reveals or conceals spaces. Several specific benefits underpin the designers' enthusiasm for pocket doors. They are effective in reducing noise, a common issue in open-concept homes, by allowing occupants to easily close off areas for quiet activities or to contain sound from lively gatherings. Their versatility extends to various applications, including creating privacy in libraries or studies, partitioning pet areas, or serving as a contemporary alternative to standard doors. A key factor in their comeback is the significant improvement in hardware technology over the last decade. Modern pocket door systems feature soft open-and-close mechanisms, synchronized hardware for double doors, and flush-closing designs, elevating them from a potentially problematic element to a sophisticated architectural feature. Moreover, pocket doors offer practical solutions for awkwardly shaped or compact spaces where overlapping door swings or tight hallways pose design challenges. They are particularly beneficial in older homes with unique architectural details that require creative problem-solving. In primary suites, especially in urban environments like New York City brownstones where space is at a premium, pocket doors are ideal for connecting walk-in closets and primary bathrooms without sacrificing floor space or disrupting the flow. Beyond functionality, pocket doors also contribute to visual appeal. Designers are incorporating solid wood pocket doors, sometimes with frosted or seeded glass, to allow light while maintaining privacy and adding an element of elegance. The demand for pocket doors is expected to continue, as they serve both functional and aesthetic purposes, offering a timeless design solution that conserves space and enhances the architectural character of a home. #PocketDoors #HomeDesign #SpaceSaving #InteriorDesign #ArchitecturalFeatures #DesignTrends #VersatileDesign #HomeRenovation

Antoinette Allande Interiors, a luxury residential design studio based in Hoboken, executed a significant home renovation in Montclair, New Jersey. The project involved transforming a 19th-century house, built in 1902 and located at 191 Christopher Street, into a modern yet traditional living space for a young family. The property spans 3,174 square feet and originally featured three bedrooms and two bathrooms. The clients, Amy and Tristan Morel L’Horset, are a family with three young boys and a history of international travel. Amy works as a registered dietitian and nutrition professor, while Tristan is a senior managing director at a global service and consulting company. Their brief to Antoinette Allande was to update their traditional home with a fresh perspective, prioritizing beautiful aesthetics alongside practical, comfortable living. They required durable furnishings that were not overly delicate and could seamlessly integrate with their existing collection of French antiques. The home's original formal and ornate exterior and interior architecture necessitated a design approach that respected its historical integrity. Antoinette Allande's design philosophy for this project was coined "Eclectic Traditional with a touch of Whimsy." This approach allowed her to blend modern furnishings with the historical architectural details, incorporating elements of the clients' whimsical preferences. Key design choices included a large, comfortable family room sectional, intended for family time and movie nights. The dining area features vintage pieces—a table, chairs, and a chandelier—acquired by the clients while living in France. These ornate, classical French furnishings were complemented by rich jewel-toned textiles, contrasting with lighter architectural finishes. A contemporary hand-knotted rug from Rejuvenation and antique French chairs re-upholstered in sapphire blue velvet further enhance the eclectic mix. The home's walls are painted in Benjamin Moore’s Moonshine 0C-56, while trim and other white areas utilize Benjamin Moore’s Chantilly Lace OC-65. The entry hall is designed to make a strong first impression, incorporating vibrant colors and patterns to reflect the clients' personality and create a welcoming atmosphere. This space features a commissioned Moroccan carpet, a family tree display, a Mokum by Katherine Martin wallpaper from Holly Hunt New York, an antique British Colonial entry table, an Indian block-printed tablecloth by Roberta Roller Rabbit, a Kelly Wearstler light fixture from Circa Lighting, a CB2 cabinet, and an Arteriors Home table lamp, all contributing to a playful and youthful aesthetic. In the living and dining areas, original built-in cabinetry and millwork were preserved and enhanced by whitewashing dark beams, the fireplace, and paneling. This technique was employed to create a lighter, airier feel, drawing inspiration from early 20th-century designer Elsie de Wolf, known for transforming dark interiors with white and light colors. The project remained within budget and on schedule despite the challenges posed by the pandemic. The property itself is a Dutch Colonial Revival style home, recognized for its ornate period details, symmetrical design, Ionic columns, white painted exterior, dormer windows with curved head sash detail, and black shutters, situated in Montclair's historic Marlboro Park area. Collaborators on the project included Franklin Nunez for painting, Orlando Silva of Golden Wallpaper for wallpaper installation, Ryan M. Brown Photography for documentation, and Brett Fixes for home improvements. Antoinette Allande Interiors operates from Hoboken, offering various design services including renovations, decorating, and art consulting, known for combining vintage and modern elements with contemporary art to achieve relaxed, layered, and eclectic interiors. #MontclairHomeMakeover #InteriorDesign #HomeRenovation #AntoinetteAllandeInteriors #EclecticTraditional #LuxuryResidentialDesign #DutchColonialRevival #VintageModernMix #HistoricalPreservation

Fashion consultant Michael Carey, known for his work with menswear brands like Ralph Lauren and Hackett London, has channeled his visual storytelling expertise into renovating an 1830 Federal house in Claverack, New York. Carey, who spent nearly a decade in London, had been collecting antique furniture and artworks with the vision of furnishing his future country home, famously stating, "Buy for it, and it will come." His search for a historic property led him to the modest wood-frame house in the Hudson Valley. Despite his real estate agent initially calling it a "dump," Carey was drawn to its structural soundness, period details such as original windows and doors, wide-board flooring, and five working fireplaces, all set on a property shaded by a mature copper beech tree. He recognized the architectural integrity and history embedded in the home, situated in a town founded in 1788 and surrounded by stately Georgian mansions. Upon closing on the property, Carey immediately began exterior landscaping, clearing pines and planting a hornbeam hedge. In the spring of 2012, he commenced renovations, making monthly trips from London to oversee the project. His approach was to honor the house's original "bones" rather than drastically reinvent it, adding architectural details that complemented its historical character. He strategically moved doors and repositioned windows to enhance the home's formal symmetry. The renovation also included modernizing the 1950s-era kitchen on the main floor, adding a back entry hall and a powder room. A sun-filled potting room, which also serves as a laundry room and informal office, was created. One of the downstairs guest rooms is located in the original 19th-century kitchen, complete with its hearth and beehive oven. Throughout the house, every available space was converted into a closet. For the interior aesthetic, Carey adopted a black-and-white color palette, with the kitchen's dove-gray being the only exception, to provide a neutral backdrop that highlights his eclectic collection of furniture and art. His furnishings span various periods, including Georgian, French Deco, and midcentury pieces, alongside unique items like a moose-leg table. His extensive art collection is displayed salon-style on walls in every room, creating a consistent visual narrative. The overall design results in a traditional yet subtly contradictory atmosphere, which Carey describes as a "collage," where individual elements combine to tell a cohesive story, much like his creative process for fashion brands. The transformation has made the historic home brighter and crisper, while respecting its past. #HistoricHome #FederalStyle #HomeRenovation #InteriorDesign #FashionConsultant #HudsonValley #AntiqueFurniture #ArtCollection #BlackAndWhitePalette

The Frick Collection, housed in a 1914 limestone mansion in New York City, has undergone its most extensive upgrade in nearly 90 years, allowing visitors for the first time to explore the private second-floor suites of the Frick family. Previously, the museum primarily showcased its collection in the grand first-floor rooms, but now the more intimate, domestic-scale spaces—comprising about 10 rooms and several passageways that once served as bedrooms and sitting rooms for Henry Clay Frick, his wife Adelaide, and daughter Helen—have been converted into galleries. This transformation offers a unique perspective on the collection within a historically preserved domestic setting. Selldorf Architects completed this comprehensive renovation, which opened in April, revealing the grand architectural style and personal living spaces of the early 20th-century industrialist family. A notable artistic feature on the second floor is an enchanting ceiling mural along the corridor, contrasting with the formal interiors. This hand-painted work by John Alden Twachtman depicts cerulean skies and landscapes filled with monkeys dressed in Chinese costumes, engaging in human activities. This playful design is a nod to French Rococo traditions of singeries and chinoiseries, with a particularly charming detail being a monkey lighting candles for a floating lantern near the entrance to Adelaide’s bedroom suite. The mural's commission highlights the pioneering work of Elsie de Wolfe, considered America's first interior decorator. De Wolfe, at the beginning of her career, boldly pitched her services to Mr. Frick in 1914, emphasizing her expertise in detail and understanding of women's spaces, which she argued male decorators often overlooked. Her persistence led to her being hired, and she subsequently created the iconic Boucher Boudoir. This room, a vibrant display of 18th-century French exuberance, features eight cherub-laden panels painted by François Boucher, depicting the arts and sciences. After previously being displayed on the museum’s main floor, the Boucher Room has been meticulously restored to its original location adjacent to Mrs. Frick’s bedroom. This boudoir, serving as Mrs. Frick's private sitting room, is celebrated for its complete ensemble, including its corner location with windows offering views of Central Park and 70th Street. Another significant area now accessible is the beloved breakfast room, where the family shared their first meal of the day. This room, facing east, captures the morning light, creating a warm ambiance, and showcases the domestic routine of the Frick family, where meals were brought up from the lower-level kitchen by a waiter. To commemorate these enhancements, the museum is hosting the exhibition "Vermeer’s Love Letters" throughout the summer. This exhibition reunites the Frick’s masterpiece, Vermeer’s "Mistress and Maid," with two special loans: "The Love Letter" from Amsterdam’s Rijksmuseum and "Woman Writing a Letter" from the National Gallery of Ireland. Displayed together in a single gallery for the first time, these three works offer a fitting tribute to the newly refurbished Gilded-Age museum. #FrickCollection #NewYorkCity #MuseumRenovation #ElsieDeWolfe #InteriorDesign #GildedAge #VermeerExhibition #ArchitecturalHistory #ArtCollection

Daniel Thompson, a lifelong admirer of 19th-century homes, acquired an 1881 brownstone in Bedford-Stuyvesant sixteen years ago. Having grown up in a similar architectural style, Thompson views his brownstone not merely as a residence but as an ongoing artistic endeavor, a historical restoration project, and a continuous learning experience. His approach distinguishes him from contemporary brownstone owners, prioritizing historical accuracy over modern renovation trends. The brownstone, located on a desirable tree-lined street, was originally built by developers Susanna Russell and architect I.D. Reynolds, who were known for constructing durable buildings. Despite falling into disrepair and having its spacious rooms partitioned into apartments over the years, the inherent quality of the original construction facilitated its revival. Thompson's goal was a faithful restoration, aiming to bring the 'grand old lady' back to her former glory, rather than undertaking a modern transformation. Thompson's efforts extended beyond a simple facelift. He benefited from the house's robust original features, such as remarkably level floors and preserved details like marble washbasins and rose bronze hardware. He diligently sourced period-appropriate items from salvage dealers and online platforms, dedicating significant personal time and expertise to the restoration. This detailed approach is evident throughout the home, from the reinterpretation of the parlor mirror to the display of Royal Worcester porcelain. His commitment to authenticity led him to research the home's past extensively. He consulted old social registers and newspaper archives, enabling him to identify former residents and even pinpoint historical events that occurred within his living room. This deep connection to the house's history, rather than being a constraint, serves as an inspiration, making the space feel vibrant and conducive to contemporary life. The woodwork, including the wall panels and the banister, stands out immediately upon entering. These intricate details, characteristic of the period, required specialized and costly labor for their original creation and subsequent restoration. For instance, the banister underwent a painstaking process of stripping, shellacking, and hand-rubbing with eight layers to achieve its current luster. Thompson's attention extends to minute, often unnoticed details, such as the elaborately engraved interior hinge of a door salvaged from a nearby, similar home. Thompson's philosophy echoes Florenz Ziegfeld's famous anecdote about silk underwear for his performers: the value of beauty lies in its intrinsic quality, even if it's not always overtly visible to others. He believes that beautiful environments, much like grand public spaces such as Grand Central Terminal, elevate the human spirit. The kitchen, designed by Thompson himself, reflects his dedication to historical accuracy while incorporating modern conveniences discreetly. He meticulously researched 1880s kitchen designs, integrating elements like a china cupboard and a hearth-set stove, while cleverly concealing contemporary appliances. While committed to historical integrity, Thompson avoids rigid historical reenactment. His furnishings and collections, though period-appropriate, are items he genuinely loves and has collected over time, allowing for a layered history within the house rather than a static recreation of a single year. He utilizes the residence as both his home and for tenants, seamlessly integrating modern comforts, such as radiant heating in the bathroom and refrigerated drawers in the kitchen, alongside his Victorian decor. This approach demonstrates a balanced perspective, embracing the spirit of the past without being confined by it, aiming to live well and make every day a great day within his beautifully restored brownstone. #BrownstoneRestoration #BedStuy #VictorianArchitecture #HistoricalPreservation #InteriorDesign #BrooklynHome #PeriodDetails #HomeRenovation #ArchitecturalHistory

While new builds offer custom design, they often lack the inherent charm and historical depth found in older homes. Historic residences, with their subtle architectural details, appeal to those who appreciate a renovation project. However, modernizing these centuries-old spaces presents a challenge: balancing contemporary living requirements with the preservation of irreplaceable historical elements. This article, drawing insights from architects Diana Melichar and Patrick Ahearn, identifies seven architectural features in historic homes that are always worth preserving. The first element is monumental stairs. These grand main staircases, often several feet wide, are a hallmark of past eras, rarely replicated in modern construction. Unlike simpler back staircases, monumental stairs feature decorative balusters, railings, and posts. Newel posts, in particular, are highlighted as unique, often hand-carved features that are difficult to replace without diminishing the home's character. Restoring these rather than removing them is strongly advised. Next are fireplaces. Older homes typically have multiple fireplaces, originally serving as primary heat sources. Today, they are valued for their aesthetic appeal, crackle, and glow. The architects emphasize that getting rid of original fireplace surrounds is a significant error, as fireplaces were historically the heart of a home. Eliminating them, according to Ahearn, destroys the soul of a historic residence. Fireplace mantels, firebox surrounds, and hearths often reflect the prevailing style of their era, making them distinctive features that are relatively easy to maintain. Antique light fixtures constitute another invaluable element. These handcrafted pieces, created by skilled artisans, possess an elegance and uniqueness not found in mass-produced modern lighting. Although they may require re-wiring, their decorative quality and historical significance make them irreplaceable. Original hardwood floors are also crucial. Despite the temptation to replace or extensively refinish them, both architects advocate for their preservation. Older growth wood flooring, particularly wide-plank varieties from America's oldest forests, is denser, stronger, and more stable than contemporary wood. These floors possess a quality that is impossible to replicate with new materials. Exposed beams are another feature to retain. These structural elements contribute to a home's historic narrative, regardless of whether they remain in their raw form or are trimmed with modern finishes. The old-growth lumber used in these beams, harvested from virgin forests and matured over centuries, offers a quality far superior to today's managed forest lumber. Original windows, often characterized by a distinctive waviness in their glass, are also worth keeping. This "imperfect" glass provides unique character and often superior insulation compared to thinner modern alternatives. While energy efficiency is a common concern, replacing old windows may not yield significant benefits unless the entire house is also thoroughly insulated. Original windows have also demonstrated remarkable longevity, testament to their quality. Consulting with a renovation professional to insulate frames and add weather stripping is suggested as a more effective approach. Finally, secondary structures in suburban or rural historic homes, such as barns, sheds, or carriage houses, should be preserved. These buildings, which cannot be rebuilt in their original locations if demolished, offer opportunities for repurposing into spaces like home offices or workout studios, thereby honoring the home's complete historical context. #HistoricHomes #ArchitecturalPreservation #HomeRenovation #InteriorDesign #DesignTips #HistoricElements #PropertyValue #ArchitecturalFeatures #HomeRestoration