Revisited: Fisher House

The Flinders House project, designed by Wood/Marsh Architecture, is situated in the diverse landscape of the Mornington Peninsula, specifically near the coastal town of Flinders. This region is characterized by rolling hills, vineyards, and mature cypress tree windbreaks, with glimpses of Westernport Bay. The firm also designed the Port Phillip Estate winery in Red Hill, which shares conceptual similarities with Flinders House, particularly in its exploration of architectural form, materiality, and site integration within an undulating landscape. The Flinders House is strategically placed at the crest of a hill, embodying a monumental quality and a strong connection to its earthy surroundings. The architects aimed for the house to appear as a permanent fixture that emerged naturally from the landscape over time, rather than a recent addition. This design philosophy imbues the building with a sense of permanence and resilience. The house features a plan composed of two wings, with geometries that dynamically negotiate each other and the site's contours. Its striking off-white, rendered form guides the eye along sweeping, three-dimensional curves. An eastern void between the wings reveals a glass pavilion, which bridges the solid structures and frames a view towards the western timber pool deck. This deck is strategically positioned to offer shelter from prevailing winds. Access to the dwelling is achieved through an oblique approach, marked by a plain entry via a solitary black door set within the sand-rendered wall. This initial denial of direct visual access creates a dramatic reveal upon entry, where the axial panorama of the interior view is unveiled. This theatrical device, also utilized in the Port Phillip Estate, draws visitors into the expansive main living zone, a huge volume designed to offer ocean views from various vantage points. The main living space is notable for its striking height and sweeping ceiling, which simultaneously compress and release the occupant through visual and volumetric experiences. To the left, a grand sweeping staircase leads to the main bedroom, positioned above an enclosed bar and an intimate, sunken den where views are framed at ground level. To the right, the ceiling lowers over the dining area and kitchen, creating a more intimate "cave-like" space within the timber-battened enclosure. The design's formal language is inspired by the fluid movement of the ocean and waves. The architects emphasize that the interiors and exteriors are fully integrated, ensuring a strong connection to the surrounding landscape. The cursive, non-geometric form extends into the roof, leading to the sole room on the first level and creating a visually smooth flow. The chiaroscuro effect amplifies the form, contributing to a celebratory section that guides occupants towards an intimate upper space. The house was conceived not as a holiday home but as a versatile dwelling capable of hosting large extended family gatherings while also providing an intimate setting for two occupants. Wood/Marsh Architecture showcases a sophisticated use of spatial geometry, recalling their earlier work like the Gottlieb House. The design moves beyond simple sculptural geometry, integrating program, diurnal light qualities, and activated raw materials to create impact. Programmatically, the southern wings house the family, with children's bedrooms and a playroom located at the western end, and the master suite and adult areas situated in the soaring eastern section. The other wing contains guest rooms with private vistas and amenities to the east, and services to the west. The material palette, though simple, achieves a high level of refinement. The single-storey house is constructed with rendered double-brick walls, a concrete floor, and timber windows. The sand and cement render was intended to evoke a natural, almost organic texture. This contrasts with the undulating timberwork, demonstrating a craft and elegance that is "not manufactured but made." The architects' confidence in using simple forms and materials to define architecture is evident, with refinement achieved through programmatic resolution. Wood/Marsh's engagement with the arts community, both locally and internationally, informs their approach. Roger Wood draws references from various disciplines such as dance, theatre, and film, particularly valuing the ephemeral experience of dance. He describes the house as possessing a visceral and ephemeral quality, similar to dance or sculpture, which may not be immediately grasped but resonates deeply after experiencing it. The project team included Roger Wood, Randal Marsh, Gemma Cooke, Matt Borg, David Goss, Sally Holbrook, Charlie Inglis, Dominic Pandolfini, and Ben Sheridan. ESD and services were provided by Aurecon, landscaping by Tract Consultants, and structural engineering by John Gardner and Associates. #ResidentialArchitecture #WoodMarshArchitecture #MorningtonPeninsula #SustainableDesign #SpatialGeometry #FormMaking #Materiality #LandscapeIntegration

Bosco, a converted 1950s Dutch barge, is currently listed for £1.8 million and offers a unique family home experience on the River Thames in London. Moored at Oyster Pier in Battersea with a 120-year mooring, this floating residence was designed by LAB Architects for their own family. The barge spans 2,150 square feet and features three to four bedrooms and three bathrooms. In its past life, Bosco served as a cargo barge, transporting grain and coal across European waterways. Its transformation into a comfortable family home necessitated extensive re-engineering. This included the design and installation of a new steel and glass top section, while the interior layout was carefully planned to harmonize with the existing brass portholes, ensuring a consistent design rhythm throughout the vessel. One of the prominent features of Bosco is a large winter garden on the deck. This "transparent sea container" is heated, allowing for year-round usability and providing a tranquil space for relaxation or socializing by the riverside. The winter garden features wide timber flooring and a natural color palette, creating a warm atmosphere and is enhanced with greenery. The oak wood deck provides views of both the water and garden, with the gentle sway of the river designed to induce relaxation. The barge's interior is efficiently organized with separate staircases leading from the center of the vessel to the deck and winter garden. Below deck, the space is divided into three distinct sections, each accessible by its own staircase. The kitchen is surprisingly spacious, outfitted with Carrara marble countertops, stainless steel cabinets, and oak wood paneling. It is illuminated by gallery ceiling lights and two overhead skylights. A small dining nook is conveniently located adjacent to the kitchen. Skylights and windows strategically placed above the staircases ensure that natural light penetrates the lower decks, illuminating even the darker areas of the cabin. A corridor leads to two double cabin bedrooms, which include supplementary storage and additional shelf-beds for guests. A private social area acts as a buffer between the primary bedroom, which has an en suite bathroom, and the children's bedroom. The children's room is designed with a cubby-like feel, featuring painted wall paneling and built-in storage. The main bedroom is situated in the stern of the barge, characterized by oak parquet flooring, birch ply skirting, and ceilings framed by wood-paneled walls. This room also includes built-in wardrobes for ample storage. The en suite bathroom associated with the main bedroom incorporates deep navy lime-wash walls and Victorian tiles, contributing to its charming aesthetic. A central area below deck, currently serving as a study with a full bathroom, offers the flexibility to be converted into a secondary living space if desired. Bosco's location at Oyster Pier offers convenience, being only a five-minute walk from the vibrant café culture of Battersea Square, which provides numerous dining and drinking options. #FloatingHome #RiverThames #Houseboat #LondonRealEstate #BargeConversion #LABArchitects #OysterPier #UniqueHomes #WaterfrontLiving

This article details the experiences and insights of Hara and James Perkins as they undertook the restoration of their 1970s Horace Gifford-designed home on Fire Island. The couple, with James being a sculpture artist and Hara a commercial real-estate law firm partner, embarked on a mission to revive the architectural integrity of their summer residence. The restoration involved meticulous work, including poring over decades-old blueprints, physically removing built-in structures, and addressing complex original wiring systems. James, a self-proclaimed 'Porsche guy,' likens the house to a classic car, emphasizing its inherent quality and the need for careful maintenance rather than complete overhaul, stating, "It’s this solid thing that was beautifully done the first time. You just need to change the oil and get some new tires." The article serves as a guide for other novice home restorers, offering key pieces of advice gleaned from their year-long project. The first piece of advice shared by the Perkins is the importance of prioritizing and setting a budget, not just financially, but also mentally and emotionally. They stress that in the current climate of working from home and homeschooling, it is crucial to manage expectations and understand that not every issue can or needs to be fixed immediately. The process should align with the family's overall well-being, acknowledging that there will always be ongoing tasks in home maintenance and improvement. Secondly, the couple suggests making at least one space in the home uniquely your own. For them, this meant painting James’s art studio white, a departure from the rest of the home's aesthetic. This choice was driven by the practical need to better perceive the colors in his artwork, but it also created an intentional, energizing space that stands out. This act demonstrates that while respecting a home's original design, personal touches are essential for making it truly yours. The third learning emphasizes that it is acceptable, and often necessary, to modernize certain aspects of a historic home. The Perkins advocate for valuing the original features but also encourage owners to question whether these features still serve their contemporary needs. They suggest trusting one's own judgment rather than viewing the home as a rigid 'time capsule.' The core idea is that the home should feel right on multiple levels for its current occupants, allowing for thoughtful updates that enhance functionality and comfort without disrespecting its heritage. Finally, the article highlights the significance of involving children in the restoration process. The Perkins’ son, Judd, actively participated by sweeping, painting, and sanding, and contributing his observations. This inclusion is presented as a way to instill in children an appreciation for design, the effort involved in creating a special living space, and the value of enjoying one's surroundings. This family-centered approach underscores the idea that a home restoration is not just a structural project but also a shared family experience. #HomeRestoration #HistoricHomes #FireIsland #RenovationAdvice #1970sArchitecture #FamilyInvolvement #Budgeting #Modernization

The Carpenter Hall House, a five-story timber-and-tin tower located on the slopes of Brisbane's Eildon Hill, has been a thirty-year labor of love for its architect Russell Hall and client Jennifer Hall. Commissioned in the mid-1980s by Jennifer Hall, who desired to live in a tower due to her "Rapunzel complex," the house was completed in 2018. It has been recognized as a nationally significant piece of architecture by the Australian Institute of Architects since the early 2000s, yet access to its interior has been limited. The house employs a traditional nineteenth-century timber construction technique, featuring exposed stud bracing, single-skin walls, and tall timber stumps. These elements are enveloped by diagonal sunshades made of galvanized steel, which complement the timber structure's pattern. While its materiality aligns with Queensland's timber-and-tin building tradition, the Carpenter Hall House deviates significantly in its construction methods and design. Russell Hall eschewed the then-common skewnailed abutted timber construction, which he believed would compromise structural stability. Instead, he adopted a technique similar to roof truss construction, utilizing machine-pressed nailplates gang-nailed to studs to ensure robust timber-to-timber connections. The dwelling's plan and form also depart from typical Queensland timber houses on stumps. Russell extruded the building vertically and introduced a unique geometric variation based on two dodecagons (twelve-sided polygons). The top-level studio occupies a smaller dodecagon with a 2.7-meter radius, circumscribed by a larger dodecagon with a seven-meter radius, whose fragments define the outlines of the four lower levels. The number twelve is a foundational element, with each side of the larger dodecagon measuring precisely twelve feet, a measurement Russell relates to the human body, being twice Le Corbusier's "modulor." The number twelve also appears in the exposed timber frame, which has twelve distinct segments, with each facet four bays wide and each level three bays high. Russell Hall's design exhibits a fascination with mathematical forms and a penchant for the surreal, reminiscent of Antoni Gaudi's work. The house evokes legendary fables, particularly Rapunzel and Sleeping Beauty. A staircase with organically shaped railing panels ascends through the dark timber interior, featuring colorful stained-glass windows that offer glimpses of the distant city, emphasizing the abode's remoteness. The ascent past ornate furniture and an antique four-poster bed leads to a needlecraft studio at the top of the tower. This space is capped by a lantern containing fluid-filled prisms that project rainbow patterns both inside and out. Despite its extraordinary design, the Carpenter Hall House did not receive the 2018 Robin Dods Award from the Queensland Chapter. However, its timeless quality suggests it transcends being merely a "2018 building" or even a "1980s building." It is envisioned as a timeless architectural piece that will be admired for centuries, akin to Gaudi's Casa Batlló. #CarpenterHallHouse #RussellHallArchitects #BrisbaneArchitecture #ResidentialDesign #TimberAndTinConstruction #ArchitecturalInnovation #QueenslandArchitecture #BespokeDesign

Federation style homes, prevalent in Australia from approximately 1890 to 1951, are renowned for their distinctive architectural characteristics, including red brick exteriors, stained glass, verandahs, tessellated tiles, decorative pressed-metal ceilings, bay windows, finials, turned-timber posts and fretwork, long central corridors, and slate or terracotta tile roofs. These charming historical abodes are highly sought after, offering a unique blend of character and heritage. The art of renovating such homes lies in carefully preserving their traditional details while integrating modern updates to enhance liveability and functionality for the 21st century. The renovation process for Federation homes often involves a respectful approach, aiming to honour the original architectural integrity while introducing contemporary elements. This balance ensures that the homes retain their unique design credibility and historical charm. The transformations range from subtle updates that refresh existing spaces to more extensive overhauls that redefine the home's layout and amenities, often including additions like swimming pools or redesigned gardens. The goal is to create spaces that are both aesthetically pleasing and highly functional, catering to modern lifestyles without sacrificing historical value. Examples of successful Federation home renovations highlight diverse approaches to modernization. One such project involves the meticulous restoration of a stately Federation cottage on Sydney’s Lower North Shore, where the owners focused on preserving its heritage while adapting it for a contemporary family. Another instance showcases an extensive renovation of a five-bedroom Federation home in Melbourne, overseen by a talented designer to create an idyllic family residence. A particularly striking renovation involved transforming a gracious Federation house's exterior spaces into a naturalistic inner-city garden inspired by the Australian bush, harmonizing the historical structure with its natural surroundings. Further renovations demonstrate varied design objectives: a two-bedroom cottage in Sydney’s inner west was reimagined for entertaining, blending traditional charm with features suitable for social gatherings. A Perth home underwent a significant transformation to restore its facade, which had been altered by previous owners, thereby reviving its original grandeur. In Sydney, a spacious heritage home from circa-1907 received a contemporary makeover, particularly in its living room, by incorporating modern materials like chunky sisal carpet, seagrass wallpaper, and angular furniture, yet maintaining its heritage character. Another Federation bungalow in Sydney’s inner west was revived with vibrant colours and enhanced with outdoor amenities like a cabana and a pool. The integration of old and new is a recurring theme in these renovations. One Federation home in Sydney, rescued from disrepair, now perfectly balances period character with fresh new features, notably an open-plan kitchen, dining, and living area designed for both hard work and visual interest. A glamorously restored Federation house, despite its good condition, had its interiors unified and modernized by an interior designer, with a north-facing terrace becoming a practical and beautiful space for children. An extension added to a Federation beauty on Sydney’s North Shore created a dramatic living space, transforming it into a family's forever home. Lastly, a Federation cottage built around 1910 received a contemporary renovation that brought it closer to nature, while a 'frilly' Federation villa in Sydney was revitalized with colour and sleek contemporary updates, and another original Federation villa was restored to enter the 21st century. #FederationHomes #HomeRenovation #ArchitecturalStyle #HeritageRestoration #InteriorDesign #AustralianHomes #ModernMakeover #HistoricHomes #HomeTours

This article highlights the 2025 Best Traditional Residence Winner, a beachfront single-family home located on Fisher Island, Miami. The project is a collaboration between Alizée Brion of Light On White Studio, Zeb Jarosz of Jarosz Architects, and Jose Ortega of CDC Builders. The primary design objective was to integrate a classical Mediterranean exterior with modern, timeless interiors for a young family's permanent residence. The interior design employs a neutral color palette that balances warm and cool tones, utilizing whites, taupes, grays, browns, and blacks. Tailored furnishings are complemented by sculptural lighting featuring brass and bronze accents. Each room is designed to evoke a distinct mood; for instance, the kitchen showcases a bold black and white theme, the family room incorporates dark gray, and the library is characterized by rich brown hues. The overall aesthetic aims to convey a sense of calm and permanence, achieving a cohesive blend of classic minimalism and contemporary living. A significant aspect of the home is its art collection, which thoughtfully combines the client's existing pieces with new custom works by artists such as Jean Philippe Lagouarde, Ali Enache, and Aythamy Armas. These artworks were specifically chosen to harmonize with the minimalist and dynamic interior environment. Fisher Island's unique characteristics, including its exclusive ferry access and seasonal construction limitations, presented specific challenges for the project team. Despite these constraints, the collaborative efforts among the designers, architects, builders, and the client resulted in a successful realization of the homeowner's vision for a clean-lined and classic aesthetic. The article details various design elements and resources used, including flooring from Ann Sacks, lighting by Apparatus and Kreon, furniture from Liaigre, accent tables by Fernando Mastrangelo, and millwork by Robert Carpentry. Paint colors, such as Benjamin Moore's Simply White, also contribute to the home's tranquil atmosphere. This project serves as an example of how a complex design brief, constrained by location and logistical factors, can be successfully executed through a strong collaborative approach, yielding a residence that is both aesthetically pleasing and functional for its inhabitants. #DesignAwards #TraditionalResidence #FisherIsland #InteriorDesign #Architecture #MediterraneanStyle #LuxuryHome #MiamiDesign #CustomInteriors

This article explores the transformation of a 4,000-square-foot Federal-style row house in Society Hill, Philadelphia, undertaken by Brooklyn-based design firm Studio Dorion, founded by Michelle Ficker and Peter Dolkas. The homeowners, possessing a significant collection of family heirlooms, including chinoiserie end tables, a secretary cabinet, and Windsor chairs, sought to integrate these antique pieces into their modern home without creating a museum-like atmosphere. The design challenge was to blend these traditional items with contemporary elements, a style the homeowner referred to as 'grandma chic.' The house, built in 1828, had been stripped of much of its original character and left with plain gray paint. The renovation process, which took nearly four years, aimed to reintroduce charm and personality. A key aspect of the design philosophy was placing traditional antiques in modern contexts, such as a Queen Anne mirror next to a contemporary sconce, or a turned wood bed alongside colorful children’s books, making the older pieces feel less formal and more integrated into daily life. The designers also encouraged the use of antiques in children's rooms, promoting a lived-in rather than precious environment. Ficker highlights several design choices and challenges throughout the project. The first items acquired for the house were worn plant pedestals, chosen for their traditional yet stripped-back aesthetic, and a grayscale, traditional-motif living room curtain fabric that offered sophistication while visually correcting off-center windows. To refresh the 'granny-chic' look, contemporary art was strategically paired with traditional upholstery. Notably, a Roy Lichtenstein print was placed alongside furniture inherited from the client's grandmother and mother, incorporating pieces from a 1960s art subscription box. A significant design risk was covering the breakfast room in striped wallpaper, despite a low ceiling, to create an illusion of vertical space. This bold choice, combined with an existing Delft tile fireplace, resulted in a 'more-is-more' moment that the clients enthusiastically embraced. The minimalist kitchen drew inspiration from Rita Konig's English farmhouse kitchen, featuring Shaker paneling, ample natural light, and a dark cabinet color, Studio Green by Farrow & Ball, to create a 'tavern-y' feel adjacent to the cozy breakfast area. The biggest splurges included custom beds and the replacement of all hardware with unlacquered brass for a consistent aesthetic. The sunroom's graphic floor was created by a decorative painter using Farrow & Ball paints in Bancha, Lichen, and Dimity, chosen to evoke a greenhouse feel, complementing the room's wraparound windows. In one bathroom, a contemporary sink, a remnant from a previous renovation, was made to feel more traditional by adding a fabric skirt. The laundry room, converted from a former bathroom on the second floor for convenience, received a significant upgrade with a sink, shelving, paneling (mirroring the kitchen's style), and a vibrant Picture Gallery Red paint by Farrow & Ball. In the primary bedroom, a fabric half-canopy was added to the bed to introduce drama and prevent it from being overshadowed by rich furnishings like a secretary cabinet and chinoiserie table. A niche in another bedroom was transformed into a 'cloffice'—a closet with a built-in desk—to accommodate the homeowner's work-from-home needs. An antique rocking chair for the daughter’s room was updated with a contemporary fabric, demonstrating how old pieces could be revitalized. The guest bedroom featured a blend of traditional and contemporary elements, with Vitsoe shelving providing a moment of minimalism. A detail Ficker had to persuade the homeowners on was painting all interior doors brown, departing from their previous white, which significantly enhanced the home’s character. The largest 'save' came from the extensive use of inherited family heirlooms, which not only reduced costs but also imbued the home with a deep sense of personal history and connection. #HomeTours #InteriorDesign #AntiqueIntegration #FederalStyleHome #PhillyHomes #StudioDorion #GrandmaChic #Renovation

This article details the comprehensive renovation of a nearly 200-year-old Federal-style farmhouse located in Sharon, Connecticut. The property, which had remained unsold for years due to its dilapidated condition, eventually found new owners who recognized its inherent potential. Architect Rafe Churchill was enlisted to undertake a historically sensitive renovation, prioritizing the preservation of the home's original architectural integrity. Initially, discussions included adding a significant extension, but this idea was ultimately abandoned in favor of maintaining the existing footprint. Approximately half of the structure required gutting, and Churchill’s approach focused on repairs using traditional materials whenever feasible. Key structural and exterior envelope improvements included a new roof, a partial chimney, reinforced floor joists, and repairs to the wood clapboard siding and many original windows. Windows beyond repair were replaced with new Marvin windows, all equipped with triple-track storm windows. The interior spaces were reconfigured and updated while honoring the home’s historical context. The dining room was transformed into a rich blue library, featuring new pocket doors designed to appear original and custom-milled molding that matches existing trim throughout the house. Original wood floors in the library, dining room, front hall, and some bedrooms were meticulously saved and refurbished. Interior designer Heide Hendricks contributed a vintage orange sofa and designed the steel-frame ottoman and drapery, adding modern touches. The dining room, formerly a parlor, now showcases a new soapstone fireplace surround and mantel designed by Churchill. A unique artistic element in this room is the custom wallpaper, created by the homeowner, an artist, from scans of the town’s handwritten 1820 U.S. Census, printed on heavy paper and adhered to the walls. The living room, bright and airy, incorporates the homeowners' midcentury modern furniture. New southern yellow pine floors in this area and the kitchen were stained dark to seamlessly blend with the older flooring. The original fireplace remains a focal point, adorned with antique candlesticks. The kitchen, located at the rear of the house, retained its original position but underwent a significant reconfiguration. A previously existing large pantry and staircase, which had isolated the kitchen, were removed to maximize space for cabinets and counters and improve flow to the living room. The kitchen’s notably low ceiling was also raised to create a more open atmosphere. Modern elements are thoughtfully integrated, such as an LED chandelier chosen for the kitchen table due to its contemporary aesthetic and transparency, allowing views to the outside. The dining table in the kitchen is a custom piece by furniture designer Seth Churchill, the architect’s brother. Upstairs, the original wood flooring continues in the hallway and bedrooms. All doors were refitted, and their hardware repaired, with some trim components added to match existing historical details. A guest bedroom, situated in the rear addition above the kitchen, features a lower ceiling compared to the main house. An original structural wood beam is visible, adding character. Furnishings in this room were repurposed from the homeowners’ previous residence, and Hendricks resized drapery panels. Wood planks from the guest bedroom were used to repair flooring in the master bedroom, leading to the new pine flooring in the guest room being painted, a choice the architect noted as desirable in older homes, especially on upper floors. #FarmhouseRenovation #HistoricHome #FederalStyle #ArchitecturalPreservation #InteriorDesign #ConnecticutHomes #HomeRestoration #RafeChurchill #HeideHendricks

Juliet and Jonathan, owners of a Federation home on Sydney's Lower North Shore, embarked on a significant renovation to accommodate their growing family of five. Initially, their single-storey, one-bathroom house was suitable for them and their first child, William. However, with the arrival of their second child, Patrick, and later Ellie, the need for more space and an additional bathroom became apparent. They considered various options, including reconfiguring the existing floorplan or selling the property, but ultimately decided to add a second storey, with Ellie's impending arrival serving as the primary catalyst for this decision. The couple enlisted Coco Tully, founder and creative director of Cote Interiors, to bring their renovation vision to life. Tully's warm demeanor and American-coastal aesthetic, characterized by a balanced use of color and clean yet inviting interiors, resonated with Juliet. The renovation project began in 2023, with architectural plans by Bennett Murada already in place. The builders had initiated the conversion of the ground-floor study into a staircase and commenced the construction of a first-level addition. This new level was designed to include a main bedroom suite with a balcony, a new study, a bathroom, and an additional bedroom, effectively doubling the functional space of the home. Juliet, having previous renovation experience with an Eastern Suburbs terrace, actively collaborated with Coco on various design elements. Their collaborative process involved refining lighting fixtures, joinery designs, material finishes, paint colors, and furniture selections. Coco Tully highlighted that while Juliet had a clear vision and refined taste, the busy parents required professional support to execute their dream. The design philosophy aimed to respect the home's original Federation character while incorporating a breezy, holiday-inspired atmosphere. This was achieved through elements such as handmade tiles, cane accents, and a cohesive blue, green, and white color palette. Attention to detail was paramount in the renovation. The couple opted for enduring finishes and fixtures, including natural stone, weathered brass, and classic wall lights, demonstrating a preference for quality over cost or speed. Specific examples include the addition of a bead to the kitchen joinery profile, the use of marble capping tiles and skirting in the bathroom, and the selection of Schumacher 'Scattered Stars' wallpaper and blush Roman sheers for Ellie's room, designed to adapt as she grows. Every design choice throughout the home was meticulously considered to achieve an elegant and refined aesthetic. Practicality was another key consideration for the family. Juliet and Jonathan requested arched French doors to create a distinct separation between the entertaining areas at the rear of the house and the rest of the home. The laundry room was designed for maximum efficiency, featuring two washing machines, custom joinery to conceal laundry baskets, and a dedicated laundry chute. In the dining and living areas, where the family spends most of their time, Coco expanded the joinery to provide ample storage and shelving, offering spaces to display family photos, books, and decorative objects. Concealed storage along the bottom of the living room joinery was also incorporated to neatly store toys and games, promoting a clutter-free environment. Coco Tully emphasized that a home should be functional, easy to maintain, and facilitate a harmonious flow, thereby freeing up time for more enjoyable family activities. The renovation, spanning 14 months, was described by Juliet as an enjoyable and seamless process, resulting in a home that perfectly suits their family's current needs and provides an ideal setting for entertaining, especially with the added outdoor pool area. #HomeRenovation #InteriorDesign #FederationHome #FamilyLiving #CoteInteriors #SydneyHomes #ArchitecturalRenovation #HomeDecor #StorageSolutions

Architect Horace Gifford, renowned for his modernist designs, transformed New York's Fire Island starting in the 1960s, creating 63 homes. Among these is a notable 1967 residence located at 46 Schooner Walk, currently listed for $3.75 million by Jamie Winkler of Winkler Real Estate Inc. This five-bedroom beach house is situated on a coveted beachfront lot in the village of Ocean Beach, within the Summer Club community, offering unobstructed views where sand extends to the edges of its timber-slatted deck. The home exemplifies Gifford's signature style, characterized by natural cedar cladding on both its exterior and interior. It features floor-to-ceiling arched windows that provide extensive views of the beach and ocean. The design also incorporates subtle sculptural curves that complement the otherwise rectilinear structure. Entry to the residence is marked by a waist-high gate flanked by two curvy wooden storage units. The front door, positioned perpendicular to a gently sloping staircase, opens directly into the main living area. The main living space is defined by a dramatic barrel-vaulted ceiling and a long wall of sliding glass doors topped with curved clerestory windows. Gifford ingeniously extended these four barrel vaults to the exterior, forming a cedar canopy that partially shades the wraparound deck. The open-plan kitchen, which is part of this expansive area, also benefits from the impressive floor-to-ceiling windows, offering picturesque views. However, the kitchen maintains a cozier atmosphere with a lower, flat ceiling, which accentuates the spaciousness of the adjacent living and dining areas. The kitchen is outfitted with granite countertops, wooden cabinetry, and a mirrored backsplash. The principal bedroom is strategically located beyond the main living area, also featuring a wall of glass that overlooks the beach and matching clerestory windows, ensuring it shares the bright, open aesthetic of the common spaces. On the opposite side of the house, four additional bedrooms are connected to a landscaped yard. This yard includes a boardwalk leading to an outdoor seating area, and further back, a fence-enclosed outdoor shower and dressing area, enhancing the beach-living experience. Horace Gifford, originally from coastal Florida, began his architectural career in New York after earning his degree from the University of Florida. He later pursued a master's degree under Louis Kahn at the University of Pennsylvania but returned to his New York firm before completing his studies. His significant influence on Fire Island's architecture is well-documented in Christopher Rawlins's 2013 book, 'Fire Island Modernist: Horace Gifford and the Architecture of Seduction,' which highlights how his beach houses transformed the island's landscape and culture. Gifford passed away in 1992 at the age of 59 due to complications from AIDS, but his modernist designs continue to be celebrated for their timeless appeal and warm, inviting character. #ModernistArchitecture #BeachHouse #FireIsland #HoraceGifford #CedarDesign #BarrelVaultedCeiling #OceanfrontProperty #RealEstate #ArchitecturalHistory

This article details the restoration of a historic Victorian-era homestead located in the Western District of Victoria, a region known for its scenic views and dairy farms. The project, led by interior designer Adelaide Bragg, focused on seamlessly blending the original character of the home with modern functionality, ensuring it serves both as a working rural property and a family hub for generations to come. The design brief emphasized practicality, warmth, and a welcoming atmosphere, steering away from anything overly delicate, given that the property is a working farm and frequently hosts family and grandchildren. The homestead's interior now features a calming palette of creams and clay reds, complemented by natural textures. Key elements include sturdy oak floorboards, antique furniture, and a significant art collection from the client. A primary challenge during the renovation was the house's dated configuration, which was not suitable for a modern family, and the lack of sufficient natural light. The renovation addressed these issues by undertaking extensive structural changes. The original back of the house was transformed into a light-filled, spacious front entrance, adorned with botanical fern prints and wool baskets. A large kitchen and family room extension was added, complete with a fireplace and an Aga stove, alongside a generous verandah to facilitate outdoor dining. Designing for a rural home involved specific considerations to honor its historical integrity while making it adaptable for contemporary living. The renovations maintain high ceilings, large-scale rooms, and simple joinery, ensuring a sympathetic approach to the existing structure. The completed home is characterized by an effortless elegance and timelessness, with design elements chosen to enhance functionality and aesthetic appeal. The dining area, for instance, features a large table and 16 chairs, which serve as a room divider and add textural depth. Kravet fabric on the chairs, referencing horse saddle blankets, and large-scale rooster paintings introduce playful touches. Old olive baskets repurposed as kitchen pendants create a unique focal point, while Monoleath benchtops offer a practical yet concrete-like finish. Oak floorboards, sisal rugs, and cow skins contribute to layering and a casual, inviting ambiance. The homestead's design also integrates with its rural surroundings, offering magnificent views of rolling hills, red gum trees, and the Grampians. The selection of fittings and finishes was guided by the need to be sympathetic to the home's heritage. For example, Sandberg ‘Waldemar’ wallpaper from Ascraft in the powder room was chosen to reflect the oak trees in the garden, and a guest bedroom features a cane bench covered in Lisa Fine ‘Jaisalmer’ fabric from Ascraft. The owners expressed satisfaction with the outcome, confirming that the entire house is now utilized as intended, embodying a successful blend of old-world charm and modern family living. #HomesteadRestoration #InteriorDesign #RuralLiving #VictorianArchitecture #FamilyHome #AdelaideBragg #HomeRenovation #VictorianHomestead

Surfside House, designed by Andrew Burges Architects, is a compact family home in Clovelly, a beachside Sydney suburb. This project involved converting an existing semi-detached dwelling, where the ground floor was reimagined into bedrooms, and a new open living space was added above. The design responds to the coastal hillside site, suggesting a new neighborhood character through its tower-like form and integrated garden platforms. The ground floor of the Surfside House houses three bedrooms arranged around a central stair and study. The architects utilized overly wide doors to enhance light distribution and extend the perception of space. A main bedroom faces the street, while two children’s rooms at the rear open onto a small garden and connect to each other. This thoughtful allocation of doors creates a sense of continuous space throughout the ground level. To maximize the utility of the small rooms, built-in sleeping lofts were incorporated, providing each child with a private elevated space featuring a small window. The varied ceiling heights on this level, with their bulkheads and thresholds, define distinct areas and manipulate natural light to create pockets of shadow, making the rooms feel discrete even when doors are open. In stark contrast to the ground floor, the first-floor living room is a singular, expansive open space. Large windows offer ocean views and invite breezes, while nearby treetops and new planter beds bring greenery close to the interior. Timber walls and sliding screens contribute to a treehouse-like ambiance. A rear deck extending from the kitchen further integrates planting through built-in garden beds. The kitchen, dining, and lounge areas are unified under a raked ceiling that ascends to a generous corner skylight, making the room feel large and spacious. The kitchen joinery is crafted to resemble bespoke furniture, reflecting its role as the heart of the home for a cooking-focused family. Despite its open plan and large windows, the living room maintains a cozy and inviting atmosphere due to deliberate design choices. Deep reveals around most upper-level windows encourage occupants to sit and converse by the sill. A subtle separation between eating and lounging areas is achieved through a few steps and a low credenza, effectively zoning the space without dividing it. This allows for a sense of containment provided by the timber furniture. The Surfside House stands out in Clovelly, an area that has seen significant development from its original simple cottages to a mix of units, duplexes, and contemporary homes. The state government's "Complying development" planning controls have often led to new constructions that disregard neighborhood character. Surfside House, with its hardwood board cladding, clean roofline, and raised planters, intentionally diverges from the traditional brick cottage aesthetic. Its tower-like form, visible through a gap in banksia trees, is designed to harmonize with the rich vegetation of the eastern suburbs. The timber cladding blends with the giant banksias, and the built-in planters integrate with the tree canopy. This design approach not only revived a dilapidated cottage but also provided a growing family with a functional and aesthetically pleasing home within their community, potentially offering a new vision for neighborhood character and priorities. #SurfsideHouse #AndrewBurgesArchitects #CoastalLiving #ResidentialArchitecture #SydneyHomes #CompactDesign #ArchitecturalRenovation #SustainableDesign

Manhattanites Jennifer and Derrick Miller sought a weekend retreat where their future children could experience country life. They discovered a 1,000-square-foot saltbox-style beach house on Long Island's North Fork, which they immediately fell in love with. The property's charm was further cemented by an exterior plaque reading 'The Miller,' revealing its historic landmark status and previous ownership by the town miller, Lazarus Manley. Jennifer, a classically trained architect and owner of Vaughn Miller Studio, embarked on a mostly cosmetic refresh of the home after purchasing it. She spent three years painting nearly every surface, excluding salvaged unpainted paneling from a Naval ship, with Benjamin Moore's 'Super White' to create a crisp, sophisticated aesthetic. A soft gray trim color was used for subtle contrast, transforming the cramped rooms into an airy, open space. The living room, despite its premium on square footage, efficiently showcases found art, including seascapes, still lifes, and oil portraits, on its walls. A neutral Belgian linen sofa provides a relaxed contrast to the couple's city furniture and allows the artwork to be the focal point. Functional small-space solutions include a task light, a folding table, and a tufted ottoman that doubles as extra seating. The kitchen features exposed wood salvaged from a ship, a nod to the home's waterside location. Jennifer kept these elements intact while making budget-friendly updates such as repainting lower cabinets, installing stainless-steel shelves, and replacing faux granite countertops with Ikea butcher block. A brass pendant, also salvaged from a shipyard, anchors the space, and a landscape oil painting above the sink offers a 'makeshift view.' Jennifer, an avid collector, stores her pieces in a glass-encased living room cabinet, including a large Champagne bottle found at a garage sale. The narrow 28-inch-wide hearth in the fireplace area is accessorized with scaled-down topiaries and candlesticks, complemented by an oil portrait. In the entryway, a wild boar sculpture named Elsie, one of the couple’s first purchases for the house, presides over the daughter's piano performances. The master bedroom, initially upstairs, was moved downstairs for easier access to the pea gravel patio after the children are asleep. White linens on a white iron bed and a Lucite nightstand enhance the airy feel of the room. The kids’ suite upstairs features a wrought-iron canopy bed that complements the steep-pitched ceiling, accommodating the need for larger beds for children, which antique beds often lack. A charming dress rack and French bulldog art adorn Tallulah’s corner in the kids' area. To maximize the 1-acre lot, a dilapidated backyard shed was converted into a shingled, multi-use space, serving as an office, art studio, guest quarters, and playroom. #SaltboxHome #HistoricRenovation #CoastalCharm #SmallSpaceDesign #InteriorDesign #CountryLiving #Hamptons #HomeTour #DIYHomeImprovement

This article celebrates the 125th anniversary of House Beautiful by revisiting a remarkable Palm Beach home, originally featured in 1989. The home, a former Shingle-style church built in 1895, belongs to decorator Mimi McMakin and her family. The piece includes a modern-day interview between McMakin and her daughter, designer Celerie Kemble, discussing the enduring charm and unique spirit of their residence. The interview highlights how the church-turned-home has fostered a timeless and free-spirited environment for generations, where memories blend seamlessly, and children are encouraged to express themselves without judgment. Kemble and McMakin emphasize the house's ability to inspire sentimentality and a sense of wonder in all who visit, often being referred to as "the most magical house in town" or "the Fairy-tale House." They share anecdotes, such as the resilience of the original Portuguese tiles on the pink porch, which have withstood 40 years of children's activities, and the house's collection of items, each with its own story, creating an atmosphere akin to a "giant picnic basket" rather than clutter. The article also provides an archival glimpse into the home as it appeared in 1989, featuring a reprint of the original story by Jane Margolies. Margolies' account details the church's history, from its early days when worshipers arrived by boat to its conversion into a residence by the Maddock family in 1940. Mimi McMakin, who initially found the church gloomy as a child, transformed it into a vibrant home after returning to Palm Beach in 1974. The original article describes how McMakin opened up the once-dark church to natural light, creating expansive living spaces despite architectural quirks like widely separated bedrooms and tiny closets. Her design philosophy, characterized by an "irreverence" for traditional furnishings, is showcased through examples like whitewashing antique chairs and incorporating whimsical elements such as painted hyacinths and morning glories on plywood shutters. The pink porch, a key feature, exemplifies her "lightened-up" English style, combining chintz, goose down, and cheerful floral patterns with cool green-and-white tiles and mirrored panels to reflect light, all contributing to a summery, comfortable, and inviting atmosphere unique to Palm Beach’s evolving interior design trends. The article underscores how McMakin’s approach redefined the concept of home, making a historical structure both personal and perpetually welcoming. #ChurchConversion #FamilyHome #PalmBeachDesign #InteriorDesign #HomeRenovation #ArchitecturalHeritage #HouseBeautifulArchive #CelerieKemble #MimiMcMakin

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