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The Insider: Prospect Heights Townhouse Goes Light and Bright With Salvaged Marble Mantels
A couple residing in lower Manhattan acquired a circa 1892 Renaissance Revival brownstone and sandstone row house in Prospect Heights, Brooklyn, measuring three stories high and just under 17 feet wide. While the house retained significant original details such as stained glass, wainscoting, an intact staircase, and carved Queen Anne style wood mantels, the new owners sought a brighter and more contemporary living space. They enlisted Gowanus-based architect Jeff Etelamaki to undertake a comprehensive renovation of the two upper floors, with a 'clean-up' of the garden level for an au pair or visiting family.
The architect identified the primary challenges as the house's overall darkness and awkward proportions. The parlor level, for instance, suffered from a narrow entry hall, staircase, and galley kitchen that consumed a third of the house's width, leaving an exceptionally long and narrow living area (9 feet, 8 inches wide by 42 feet long). Etelamaki addressed this by opening up the hallway wall and dividing the lengthy space widthwise. An expanded kitchen was relocated to the rear of the parlor floor, and a dining area, featuring a round table to counteract the angularity of the space, was placed in the middle. This strategic repositioning was deemed the most practical solution for the layout.
A significant stylistic decision involved replacing the existing ornate mantels and a large pier mirror. The homeowners opted for simpler white marble mantels, sourced from earlier-era Boston houses via New Hampshire, after the original pieces were sent to an architectural salvage warehouse in Harlem. This choice was partly facilitated by the necessity to replace the uneven and worn parquet flooring with new white oak planks from Madera Surfaces. Other improvements included removing a wall to open the stair hall and whitewashing existing dark brown woodwork to enhance brightness and modernize the interior. While much of the original detail, such as the front door, trim, wainscoting, and stair balusters, was preserved, the latter were highlighted with Farrow & Ball’s Manor House Grey.
Additional design elements included abstract art by Brooklyn-based painter Alex Soffer positioned over the mantels in the parlor and kitchen areas. Two barrel-shaped chairs in the front parlor were chosen to complement the mantel's opening and prevent the narrow space from feeling overcrowded, while original stained glass panels above the parlor windows were retained. Custom kitchen cabinetry, along with a wall of glass-doored cabinets, was crafted by Tamas Matyek of Brooklyn-based Prowood. Lighting fixtures, including hanging lights over the black granite island, contemporary glass fixtures in the dining area and entry hall, and sconces throughout the house, were supplied by Allied Maker. A new powder room was integrated to the right of the kitchen, necessitating a slight bump-out into the kitchen space. Built-in white oak and mixed hardwood cabinets with integrated pulls were installed to optimize space in the kitchen, given its limited width for a dining table or banquette.
On the upper floor, two smaller rooms were combined to create a single, full-width primary bedroom, with salvaged wainscoting used for repairs. The primary bedroom features furniture from Chicago’s Blu Dot. The central section of the top floor was reconfigured to include a walk-in closet and an entirely new skylit bathroom, which is partly clad in large-format porcelain tile. The existing door to a deck remained, with a potential future addition to that floor considered.
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