SC Johnson HQ: Exterior and Interior | Frank Lloyd Wright | Ken Burns

The article reviews Scott Johnson's recently published book, "Inside Architecture: A Design Journal," offering insights into his career and architectural philosophy. Johnson, known for his serious approach to architecture, recounts a notable incident involving his meticulously designed Fox Plaza office tower. Completed in 1987, the upper floors of the building were altered for use as a film location for the movie "Die Hard," a revelation that initially concerned Johnson about the tower's architectural integrity. Despite his initial apprehension, the movie's success made the Fox Plaza tower an instant landmark, leading to full occupancy and increased recognition for Johnson's firm. The unexpected publicity from "Die Hard" significantly boosted the firm, then known as Johnson Fain + Pereira, and later Johnson Fain. This exposure led to numerous challenging assignments, including an intriguing offer from Donald Trump to design the world's tallest building in Los Angeles. Johnson declined this particular offer but undertook several other successful projects in L.A.'s Century City and downtown San Francisco. The book delves into the design and development processes of these projects, offering a glimpse into client interactions and the guarded packaging of unique architectural endeavors. A significant portion of Johnson's journey involves the Opus One Winery in Napa Valley. His involvement with this project predates the Fox Plaza incident, dating back to 1984 when the firm won a competition for the joint venture between Robert Mondavi and Baron Philippe de Rothschild. The protracted design process for the winery became a comprehensive tutorial in winemaking and social etiquette, proving beneficial for Johnson and his evolving firm. This project, along with other hospitality assignments, helped Johnson Fain navigate economic downturns and attract an international clientele following the Fox Plaza success. Johnson's book also documents the firm's diverse international commissions, including master planning resorts in Hawaii and Guam, designing office towers in Taiwan, Indonesia, and China, and planning Beijing's central business district. Closer to home, the firm undertook projects like an office tower in Dallas, a Native American museum in Oklahoma City, and several office towers in L.A.'s Century City. Each project presented unique challenges related to clients, site constraints, design considerations, and financial aspects, all meticulously observed and navigated by Johnson, who also demonstrated his skill as a conciliator. The article highlights Johnson's unique involvement in the Christ Cathedral (formerly Baptist Crystal Cathedral) in Orange Grove, tracing his contribution from an apprentice under Philip Johnson in the 1970s to his role as a principal in Johnson Fain during its renovation into a Catholic cathedral decades later. The narrative also explores Johnson's personal architectural ventures, including designing several private residences, four of which were his own. These include a town house, a renovated industrial loft, and two distinct family vacation homes—one in Napa Valley and another in Ojai. These personal projects showcase Johnson's versatility and deep connection to architecture, culminating in his and his wife's move to a pied-à-terre in Harlem, New York City, which he describes with poetic appreciation for its urban environment. Finally, the review mentions Johnson's academic pursuits, including teaching design at UCLA and leading USC's Master of Architecture program. His intellectual contributions are further evidenced by his various publications and his role as an art and architecture design theorist. The book's extensive epilogue features excerpts from these theoretical works, providing a comprehensive view of Johnson's journey as a gifted architect in a demanding profession. #ScottJohnson #ArchitectureDesign #InsideArchitecture #FoxPlaza #DieHardMovie #JohnsonFain #OpusOneWinery #ArchitecturalJournal

The article showcases a contemporary ranch interior design project by the Canadian firm Johnson & Associates, known for their work in modern and contemporary interiors. This specific project stands out for its unique blend of rustic modern, transitional, and mid-century design elements, moving beyond typical modern ranch aesthetics. A key focus of the design was to achieve warmth and coziness throughout the space, a goal evident in the selection of furnishings and materials. The natural surroundings and views from the ranch heavily influenced the interior design, creating a seamless connection between the indoor and outdoor environments. The featured home incorporates an open-concept layout that enhances flow and spaciousness, allowing natural light to penetrate deeply into the interior. The living room is designed for comfort and intimacy, featuring plush seating and warm textures that invite relaxation. The dining area is presented as both functional and aesthetically pleasing, suitable for both everyday meals and entertaining guests. The kitchen combines modern appliances with rustic touches, maintaining the overall design theme while providing a highly functional space for cooking and gathering. One of the most striking features of the interior is a dramatic wooden wall serving as a headboard in one of the bedrooms. This element not only adds a rustic-modern flair but also creates a significant focal point within the room, demonstrating a creative use of natural materials. The bathroom design emphasizes sleek, contemporary fixtures alongside natural elements, contributing to a spa-like atmosphere. An office space within the ranch is also highlighted, illustrating how Johnson & Associates integrated practical work areas without compromising the home's overarching design philosophy. This space maintains the modern and cozy feel, ensuring a cohesive design throughout the entire residence. Throughout the project, Johnson & Associates effectively demonstrates their ability to harmonize diverse design styles. The integration of modern and rustic elements, coupled with strategic placement of mid-century pieces, results in an interior that is both sophisticated and inviting. The careful consideration of the home's external environment further underscores a thoughtful design process that prioritizes natural beauty and comfort. The overall aesthetic is one of refined casualness, perfect for a contemporary ranch setting that values both style and livability. #InteriorDesign #RanchHouse #ContemporaryStyle #RusticModern #JohnsonAndAssociates #HomeDecor #OpenConcept #MidCenturyModern #CanadianDesign

Neelima Kanneganti and her family reside in a 4,300-square-foot, five-bedroom, five-bath home in Johns Creek, built in 2018 by Ashton Woods. The house is characterized by its transitional architectural style and a prominent two-story bowed wall of 15 windows in the family room, which offers dynamic views of the changing weather and seasons. Kanneganti describes this feature as an "ever-changing picture" that gives the family great enjoyment, particularly during moonlit evenings. The home’s interior design is described as 'rustic glam,' incorporating a blend of textures, neutral colors, and metallic accents. Key design elements include horse and elephant statues, mirrors, and various gold accessories. The living room features a charcoal leather sofa from Macy's, creamy armchairs, and matching wood coffee and side tables from Z Gallerie, all arranged to preserve the scenic window views. An elephant statue from Pier1 Imports greets visitors, drawing inspiration from Indian traditions of placing such figures at home entrances. The fireplace wall is adorned with marble and flanked by an octagonal floor mirror from Z Gallerie and a modern canvas print, 'Luke II' by Christie Adelle, set within an alcove painted in Sherwin-Williams Black Fox. The two-story family room is further enhanced by a forged iron chandelier from RH and a luxurious stone accent wall, complemented by tufted ottomans from Wayfair. A rustic glam fireside spot includes neutral armchairs with nailhead studs, a cowhide rug from RH, and a stainless steel Winthrop Lantern from Z Gallerie. Another vignette in a room off the kitchen showcases a clock and mirror art from CB2 and golden animal skulls from Houzz. The abstract canvas print by Christie Adelle is repeated throughout the home, including the master bedroom, consistently reflecting the rustic glam aesthetic. The living room also features a wood coffee table from Z Gallerie displaying coffee table books from Neiman Marcus, alongside golden cheetah and other gold accessories from Z Gallerie. The kitchen is designed in a transitional gray-and-white palette, highlighted by a waterfall Cambria quartz island in Torquay. This island is paired with four upholstered bar chairs with nailhead trim from Pier1 Imports. Accessories on the island include a vase from Crate and Barrel with faux florals from Pier1 Imports and a wood bowl from Pottery Barn. Practical features in the kitchen include a pot filler above the Jenn-Air range. The dining area is furnished with a dining table from Rooms To Go, upholstered chairs from Pier1 Imports, and a horse statue from Pottery Barn, illuminated by a beaded chandelier from Progressive Lighting. A modern console from CB2 is set in a niche with curtains from Bellacor. The home office includes a floral yellow and gray armchair as a desk chair. The basement has been converted into a movie and game room, complete with a pool table and recliners. The master bedroom features a wing bed with button tufting from Havertys and crisp Kassatex bedding with embroidered triple-line detailing. A high-back, tufted chair and side tables from Ashley Furniture complement the room. A sunburst mirror from Z Gallerie adds a glamorous touch above a chest of drawers. The marble master bathroom includes a freestanding tub, a Buddha statue from Pier1 Imports, and bamboo for a natural green element. The outdoor space is decorated with a chevron rug, greenery, and a Buddha statue, also from Pier1 Imports, creating a serene ambiance. #HomeDesign #InteriorDesign #RusticGlam #JohnsCreekHome #WindowWall #ArchitecturalElements #LuxuryInteriors #HomeDecor #TransitionalStyle

The article explores the often-overlooked potential of ceilings in home design and their profound impact on our perception and experience of a space. It begins by reflecting on the author's childhood experience with a popcorn ceiling, highlighting how this common yet maligned feature left a lasting impression, evoking memories of glow-in-the-dark stars and a crystal prism. This personal anecdote sets the stage for a broader discussion on why ceilings, despite being a fundamental element of shelter, are frequently neglected in design considerations compared to walls, floors, and decor. The author critiques the prevalent minimalist aesthetic, which often prioritizes blank, unadorned ceiling surfaces, interrupted only by functional elements like recessed lights and vents. This approach, likened to "quiet luxury," values height and simplicity without fully engaging with the ceiling's potential to shape the atmosphere. Such minimalism can lead to cavernous, echoing spaces that lack character and warmth. In contrast, the article points to industrial lofts, where exposed structural elements like wood subfloors, brick, and metal conduits inadvertently create rich textures and a sense of lived history. The discussion then delves into instances where ceilings are intentionally integrated into the design, adding significant depth and character to a space. Examples include heavy crown moldings signifying history and status, stepped curves in Southwestern designs recalling traditional adobe, and painted ceilings used to manipulate the perceived height and temperature of a room. Exposed wood beams are presented as elements that introduce visual rhythm and convey structural integrity, making a case against the use of faux beams. The article emphasizes that while these design choices might not always be consciously registered, they profoundly influence how a space feels—whether low or high, light or dark, confined or airy, cold or hot. Frank Lloyd Wright's Hollyhock House is cited as an exemplary case, where the ceilings are as meticulously designed as the walls, featuring richly colored panels, intricate wood moldings, integrated lighting, and a unique skylight above the hearth that functions as an artwork, filtering light through a geometric wood pattern. Such deliberate design evokes a visceral reaction in occupants. Moving to more contemporary examples, the article highlights John Lautner's architectural works in Los Angeles, which are characterized by a seamless integration of nature and fantasy through structural elegance. Lautner's designs, such as the cantilevered Chemosphere and the parabolic Garcia House, eschew traditional flat planes, allowing walls and ceilings to curve, fold, and blend with the outdoors. The author notes Lautner's unique architectural education, partly derived from building a cabin with his parents where the ceiling was painted with blue sky and clouds, a design concept that inspired his later work and the Space Age cartoon buildings of "The Jetsons. Finally, the piece draws a connection between all ceilings and the primal archetypes of shelter—the compressive cave and the tensile tent—suggesting that ceilings are always a reflection of past forms and a canvas for new beginnings. They are presented as silent observers that both reflect and shape the lives lived beneath them. The author concludes by describing their current bedroom ceiling, which, despite its apparent emptiness, reveals a world of natural phenomena and reflections, underscoring the idea that even in perceived void, one can find or create a world. The overarching message is to "look up" and recognize the untapped artistic and experiential possibilities that ceilings offer in enriching our living environments. #HomeDesign #InteriorDesign #CeilingDesign #ArchitecturalFeatures #SpacePerception #FrankLloydWright #JohnLautner #ArchitecturalHistory #DesignPhilosophy

The article details the renovation of Frank Gehry's first house, originally built in 1974, by Dan Brunn Architecture for artist James Jean and his wife Chihiro Torikai. The property, located in Los Angeles, holds significant architectural provenance, being Gehry's initial residential project before his more renowned deconstructivist works. Despite Gehry's original involvement, many of his design details for this particular house went unbuilt, leaving it as a relatively blank canvas for the subsequent renovation. James Jean, a celebrated commercial and fine artist known for his work with Prada, sought a living space that would integrate his artistic practice with his family life, desiring a home studio rather than a separate workspace. He gave architect Dan Brunn significant creative freedom, having developed a friendship after meeting at a street-art festival in Hawaii. Brunn's approach honored Gehry's legacy while infusing the home with contemporary design elements and personal touches reflective of Jean's artistic style. Brunn acknowledged Gehry's original design at the recessed entry, cladding it with overlapping copper panels that subtly reference Gehry's signature fish-scale motif. Inside, Brunn focused on transforming the space, starting with a central staircase. This staircase, crafted from 2-by-8-inch solid walnut planks of varying lengths, features a dual geometry: a crisp crease line combined with a subtle curve. This curved element subtly alludes to the fluid and lyrical forms characteristic of Jean's drawings and paintings. The staircase is not merely a vertical connector; it also defines the horizontal flow of the ground level, compressing the space between the foyer and the main living, dining, and studio areas. A significant design feature is a 12-foot-wide pivoting plasterboard partition. When open, it allows the living area to connect directly with the library. When closed, it converts the library into guest quarters, demonstrating a versatile use of space. Adjacent to the library-bedroom, an alcove was designed as a contemplative retreat. This open-sided box, constructed from canted walnut planes, is inspired by Japanese teahouses. Sliding glass doors allow this volume to merge with the meticulously landscaped garden, which features bamboo, ginkgos, and Japanese maples, creating an atmosphere of absolute zen. Lighting throughout the ground level is designed to be diffuse, providing a shadow-free environment ideal for photography and everyday living. At night, LEDs ringing the alcove's walnut box offer programmable color cycles, controlled by a handheld remote, serving as an homage to light artist James Turrell. This multi-layered approach to lighting underscores Brunn's nuanced take on minimalism. For furnishings, Brunn selected a mix of modern and contemporary design icons. The library features classic Eames swivel armchairs and ottomans. The dining area includes a slimmed-down Parsons table by Bertjan Pot, surrounded by Jonathan Prestwich side chairs and Diez Office armchairs. In the living area, an Antonio Citterio pale gray sectional is paired with Jean Prouvé black sling chairs, gathered around a custom cocktail table made of reclaimed Douglas fir, detailed with turquoise inlays and copper staples. Upstairs, Brunn made a significant decision to reduce the total square footage to 3,600 by removing a bedroom. This sacrifice created private outdoor space, a glass-walled pocket terrace for the master suite. This solution unexpectedly echoed Gehry's original plans for the same spot, which had envisioned a greenhouse. The project team included Aras Burak from Dan Brunn Architecture, structural engineer Chris Salas, CBM Woodworks and Woodmaster Kitchen & Bath for woodwork, KR Welding for metalwork, and RealCo Creations as the general contractor. #ResidentialDesign #ArchitecturalRenovation #FrankGehry #DanBrunnArchitecture #JamesJean #InteriorDesign #LosAngelesArchitecture #ModernInteriors #AdaptiveReuse

When Kate Yearwood Young and her husband acquired a 2013 Georgian-style townhouse in Boerum Hill, Brooklyn, they enlisted Frederick Tang Architecture for a design refresh. The 3,500-square-foot home, while livable with high ceilings and two terraces, suffered from a vexing layout and bland, new-build finishes, including faux-Colonial detailing, an Italianate-style iron staircase, and chrome hardware. The clients sought a modern aesthetic, a stark departure from the existing colorless palette. The architects, Frederick Tang and Barbara Reyes, approached the project as a cosmetic refresh rather than a gut renovation, allowing for more focus on design-oriented elements and a personalized budget allocation. Upon closing in November 2020, Tang and Reyes began transforming the five-story house and cellar into a cohesive, multi-hued environment. Their vision drew inspiration from the organic forms of late ceramicist Valentine Schlegel, evident in the sculptural modifications made throughout the home. The builder-grade stair rails were replaced with curved plaster masses, reeded glass, and brass trims, creating a sinuous, tactile staircase. Similarly, the fireplace in the foyer was reimagined in plaster, serving as a sculptural anchor that visually connects to the colossal ceiling height. These dramatic architectural interventions allowed each floor to develop its unique character. The design incorporates a rich color palette of black, cream, peacock blue, rust, oxblood, mulberry, wine, and blush, complemented by brass fixtures. The client, Kate Yearwood Young, known for her keen sense of style and appreciation for color, specifically requested a deep, not-too-bright red. Beyond significant structural changes, the project involved more minimal spatial adjustments and aesthetic enhancements. The small fifth-floor penthouse was converted into a dedicated home office, flanked by terraces, and custom millwork featuring a wet bar and bench was added to the second-floor landing. Further bespoke details include the dining room's inset ceiling, which was rounded into a curved cove, housing an Art Deco brass and marble chandelier. This chandelier overlooks a large painting inherited from the clients' grandmother, highlighting the integration of personal heirlooms. Other furnishings, such as their grandmother's L-shaped Selig modular sofa, were reupholstered in Knoll's Rebel fabric, retaining sentimental value while updating the aesthetic. Antiques, including a stone and brass dining table, a 1960s Italian chandelier in the powder room, and a 1970s DIA glass and brass swivel table, were sourced to contribute to the home's layered character. The architects also procured pieces from local Brooklyn vendors, as well as from Mexico and Portugal, resulting in a design that artfully blends global and historical influences into a contemporary and cohesive space. The kitchen's existing cabinetry was retained, but the island was replaced with a custom piece by Casa Quieta, and a Hurricane Black marble backsplash was installed against the crème millwork. The five-story home's vertical organization is emphasized by the bold staircase. The fifth-floor landing, which leads to the work-from-home space and rooftop gardens, features hand-painted botanical wallpaper from Artemest and an Anna Karlin Arc pendant. The penthouse bar and powder room are clad with Breccia Pernice marble from Verona, Italy, which offsets the painterly wallpaper, contributing to the home's dramatic and moody interior design. #BrooklynBrownstone #InteriorDesign #FrederickTangArchitecture #ResidentialDesign #DramaticInteriors #MoodyInteriors #PlasterSculpture #CustomMillwork #VintageAccents

Jessica Warren, founder of JP Warren Interiors, shares insights into her design philosophy and creative process. Her journey into interior design began in the fall of 2011, driven by a longstanding passion for modern furniture and a penchant for collecting unique pieces from thrift stores. Before establishing her business, Warren amassed a collection of furniture, lighting, and objects, with an initial intention to open an antique store or interior design studio after her daughter left for college. Her personal renovation of a Clinton Hill residence, which garnered significant media attention, further solidified her reputation and provided a practical "classroom" for her design education. This project allowed her to develop a distinctive aesthetic and approach, preparing her for her first professional commission: a 10,000-square-foot new construction project. She views design as a continuous evolution, influenced by curiosity and a constant refinement of personal tastes, echoing Norma Kamali's perspective on taste development. Warren emphasizes a client-centric yet artful approach to interior design. She aims to create spaces that are personal, interesting, and rooted in art, rather than being overly "designery" or pretentious. A key aspect of her work involves educating clients on the relationship between art and interior design, often exposing them to art as the fundamental basis for her design work. She integrates artful forms into all interiors, whether through actual artworks or sculptural elements like lamps, chandeliers, and chairs. This process involves refining taste to identify recurring colors, shapes, and patterns that form a consistent motif. Warren also advocates for creating tension in spaces by juxtaposing opposing elements—soft against hard, organic against geometric, dark against light—to highlight the inherent beauty of each component. Her team develops a clear aesthetic map by assigning characteristics to furniture and materials, such as "organic shape" or specific material types like stone or metal, before sourcing begins. Storytelling is integral to Warren's design philosophy. An interior should narrate a story that begins with the architecture and is enriched by furnishings, art, and objects. These additions should be historically aware, personal, and layered, reflecting an ongoing evolution rather than a static "time capsule." She prefers the term "collected" over "eclectic" to describe spaces that possess a timeless quality, appearing as if pieces were gathered over time from family, travels, and various purchases, creating an authentic and evolving environment. She deliberately avoids using iconic pieces extensively, instead seeking unique, less identifiable items to ensure the space feels personal rather than branded or contrived. For each project, Warren dedicates time to experience each room through different light cycles to understand its natural use and potential. She sometimes draws color palettes directly from the room itself, or from a client's cherished painting or object, using tools like "Color Explorer" to translate emotional responses into a cohesive design scheme. In her own home, a significant decision was to preserve the original architectural envelope while updating elements like the parlor floors, eliminating amber tones in the oak to achieve an elegant palette, and staining dining room woodwork black. Regarding Brooklyn row houses, Warren acknowledges their inherent strengths as substantial, solid structures, alongside challenges such as narrow layouts and limited natural light. She advises designing to enhance the natural light available rather than striving for an impossible "white room" in naturally darker spaces, suggesting instead to create "beautiful rooms." For narrow spaces, scale of furniture is crucial. She recommends respecting the original intention of furniture placement while also being open to re-purposing rooms to better suit modern lifestyles. Her approach balances preservation with contemporary functionality, ensuring that homes remain dynamic and reflective of their inhabitants' lives. #InteriorDesign #HomeRenovation #DesignPhilosophy #BrooklynDesign #ClintonHill #ModernFurniture #ArchitecturalPreservation #SpacePlanning

The article details a significant renovation project undertaken by Jade Timmerman of JNT Interiors in a historic Hyde Park bungalow. The project aimed to blend the home's original character and heritage with modern living requirements for a young, active family of five. Initiated in 2019 and completed for a 2022 move-in, the renovation expanded the living space from 2,500 square feet to 5,200 square feet. The expanded home now features two stories, five bedrooms, five and a half bathrooms, and a two-car garage, accommodating the family's needs while also providing space for cherished family heirlooms. Timmerman's design philosophy for this project was heavily inspired by Southern homes, aiming to imbue the space with a sense of warmth, richness, family, and togetherness. A key aspect of her approach was ensuring cohesion throughout the home, where each room possesses unique elements and a distinct feeling, yet all contribute to an aligned and harmonious overall design as one navigates through the spaces. Several specific design elements and areas of the home are highlighted. The original fireplace was refinished in Benjamin Moore’s Stormy Monday, complemented by a Nero Marquina marble hearth and a custom-made Rowe loveseat upholstered in charcoal performance velvet. An inviting sunroom features an outdoor fireplace with black herringbone tile, vibrant blue and green accents, cozy faux wicker chairs, and an outdoor-friendly dining table, ideal for evening relaxation. The bar area showcases custom-painted inset cabinetry paired with walnut wood hardware, adding a warm touch to the space. For the laundry room, Timmerman selected Moroccan-style zellige tile in a checkerboard pattern with inset stars. The unique nature of zellige tile, being hand-cut and hand-glazed, ensures that no two tiles are identical, contributing to the room's distinctive character. The master bathroom is another example of Timmerman's ability to harmonize old and new elements, featuring an ornate marble mosaic floor, a crystal chandelier, a Waterworks bathtub, and custom white oak cabinets. Beyond the interior, the property includes an outdoor area designed for entertainment. A large backyard in Hyde Park, a desirable commodity, was brought to life with a pool and hot tub designed by Landmark Pools. This outdoor oasis also includes a well-appointed outdoor kitchen and bar area, catering to outdoor cooking and entertaining. The comprehensive design and expansion transformed the historic bungalow into a spacious, functional, and aesthetically cohesive 'forever family home' that respects its historical roots while embracing modern comfort and style. #HydePark #HomeDesign #InteriorDesign #HistoricRenovation #SouthernHomes #LuxuryInteriors #JNTInteriors #CustomHome #FamilyHome

Carrie Johnson recently shared a rare glimpse into her eldest son Wilfred's bedroom at their Oxfordshire manor house, Brightwell Manor. The family moved into the impressive nine-bedroom Grade II-listed property after Boris Johnson concluded his tenure as British Prime Minister, leaving 11 Downing Street. The manor, reportedly purchased for £3.8 million, boasts a rich history, with its oldest parts dating back to 1605, featuring a sitting room, family room, and an oak-paneled bedroom suite. Beyond the main residence, the estate spans almost five acres and includes a guest cottage, a tennis court, a walled garden, two stables, and even a moat, providing ample space for the couple and their three children: Wilfred (3), Romy (1), and baby Frankie (7 weeks). Wilfred's bedroom showcases a distinctive style, as revealed in Carrie's Instagram post where he is seen reading David Walliams' book 'Little Monsters'. The room features a single bed with a cream and daisy metal frame, adorned with a white quilted sheet printed with mini raspberries. Complementing the bedding are two Rufflemouse cushions, intricately decorated with gymnastic figurines and striped ruffle trims. Carrie captioned the photo, humorously remarking on the room's appeal: "Anyone else's kids bedroom nicer than their own!? Love this new raspberry print quilt from @evieandskye_tinytots." The decor extends to white walls, a framed French poster depicting Babar the Elephant, and wooden floorboards. A chest of drawers is covered with a vibrant rainbow-striped mat, adding a playful touch. Personalized elements are visible through soft toys, including a Paddington bear, a large giraffe, and an oversized letter 'W' to signify Wilfred's initial. This curated blend of classic and whimsical elements creates a unique and charming space for the young boy. Further insights into the family's new home were previously shared. Following baby Frank's birth, Carrie posted photos of the newborn in another room, revealing a plush bed with a dark wooden frame, ruffled pillows, and a blue pleated lamp, contributing a vintage aesthetic. In July, Carrie also offered a peek into their picturesque garden, which features a vegetable patch. She demonstrated making a homemade crumble using fresh rhubarb harvested from the garden, highlighting the whimsical beauty of the property's outdoor spaces with wildflowers and a large brick wall as a backdrop. The article provides a detailed look into the Johnsons' family life and their country estate, offering a rare glimpse into the private living quarters, particularly Wilfred’s uniquely decorated bedroom, and aspects of their extensive property. #CarrieJohnson #BorisJohnson #CelebrityHomes #ChildrensBedroom #HomeDecor #OxfordshireManor #InteriorDesign #FamilyLife

Ryan Murphy, the renowned film and TV producer, has established a new Hollywood headquarters for his extensive offices, drawing inspiration from the futuristic film set of the Netflix mini-series 'Halston,' which he executive produced. For this project, Murphy collaborated with designer Jeremiah Brent, aiming to create a workspace that embodies a sense of calm, clarity, and fosters creativity for his 50-strong team. The previous office space on the Fox Studio lot featured a Californian earthy aesthetic, but Murphy desired a fresh, modern environment that was both quiet and subtly vibrant, a concept he described as 'Halston in space.' Jeremiah Brent was tasked with transforming a previously chaotic and compartmentalized space. His initial reaction to the existing office, filled with Silicon Valley-style cubicles, highlighted the significant challenge ahead. Murphy's directive was clear: an all-white, light, and almost spaceship-like environment, with specific areas designated for editors, a large conference room for writers, and a café. Brent's first major intervention involved creating fluidity and movement within the space, designing passages to connect different environments while promoting a sense of grounding and tranquility. A key design element introduced was the use of perforated arcs, shutters, and walls, inspired by the work of Hungarian-French designer Mathieu Matégot, to address blockages and enhance the flow. The material and color palette was meticulously curated to achieve the desired aesthetic. Suede, marble, and plaster were used extensively, with a preference for plaster wherever possible. A strict adherence to a calming color scheme of whites, creams, and greys was enforced, with bright primary colors being completely eschewed. Where these colors weren't feasible, metals like chrome were incorporated, reflecting the 1930s and 1970s design influences. Brent noted the challenge of integrating curved walls and cashmere drapery, which concealed video monitors, into the design. The outcome was a space where almost every element was bespoke, including individual vintage subway tiles that required significant effort to source and prepare. Among the notable features, the conference room stands out with its handmade poured concrete table capable of seating over 15 people, intentionally devoid of color to minimize distractions and encourage creativity. Murphy's personal office, with its lacquered dropped ceiling, fireplace, and Jean Prouvé-inspired windows, is a favorite of Brent's. Brent emphasized the design's success in creating areas for both individual focus and collaborative participation. The project, which took two years to complete, including a period of construction during the Covid pandemic, was described by Brent as one of his most challenging yet rewarding endeavors, ultimately delivering on Murphy's vision for a highly functional and inspiring creative hub. The article highlights the intricate details and the collaborative process behind realizing this unique office environment, offering a glimpse into the design philosophy that shaped Ryan Murphy's Hollywood headquarters. #RyanMurphy #HollywoodHQ #OfficeDesign #JeremiahBrent #HalstonInspired #InteriorDesign #CreativeWorkspace #ModernOffice #BespokeInteriors

Frank Lloyd Wright, a prominent architect, extended his design philosophy beyond the exterior of buildings to encompass the interior furnishings, viewing homes as "total works of art." His early career, fresh from Louis Sullivan's firm, saw him conceptualizing every element, from the building shell to the furniture, as interconnected components of a unified design. This comprehensive approach led him to design over 300 different chair designs throughout his career, driven by the belief that commercial, mismatched pieces would compromise his architectural vision. Wright expressed this idea as early as 1894, stating that the most satisfactory apartments integrated most or all furniture as built-in elements, part of the original scheme and an integral unit. Wright's initial forays into furniture design were evident in his Oak Park home and studio, built in 1889. He used this space as a testing ground for his evolving Prairie style, particularly in the 1898 studio addition. Many of his early pieces, such as benches in the living rooms, were designed to appear as extensions of the walls, blurring the lines between architecture and decoration. He began actively designing his own furniture around 1893, sometimes collaborating with his assistant, Marion Mahony. He partnered with several furniture manufacturers in Chicago and Milwaukee during his early Prairie period, a region known for its furniture industry. Wright's designs were often groundbreaking and atypical, necessitating close supervision and collaboration with fabricators to realize his unique visions. His demanding approach mirrored his interactions with contractors, reflecting his commitment to innovative design. Collaborations included the John W. Ayers Company in Chicago, for which he designed pieces for a 1902 exhibition, and the Niedecken-Walbridge Company in Milwaukee. George Niedecken, co-owner and an "interior architect," became a key collaborator, working with Wright on projects like the 1909 Meyer May house and the 1910 Robie House. Niedecken's factory provided custom furnishings, employing numerous artisans. Wright's early furniture was significantly influenced by the Arts and Crafts movement, featuring designs predominantly in oak that harmonized with the rectangular forms of his homes. Notable examples include the heavy oak dining suite from his Oak Park home and studio, where the high-back chairs created a sense of a "room within a room" around the sizable table. Some seating at the Robie House even integrated electrified lanterns, combining seating and lighting into single objects, showcasing his innovative approach to functionality and aesthetics. David Bagnall, curator for the Frank Lloyd Wright Trust, notes that Wright’s early furniture designs, integrated into his Prairie-style masterpieces, demonstrated his ability to synthesize diverse influences into unique creations. While Wright often presented his ideas as original, Bagnall suggests he was a master interpreter, absorbing lessons from international magazines, Japanese crafts, and the Arts and Crafts movement. Although his high-back chairs share a resemblance with those of Charles Rennie Mackintosh, Bagnall attributes this to both designers drawing from similar broader influences rather than direct imitation. Wright's approach involved integrating various resources to shape his distinct design philosophy. This early work represented a significant departure from contemporary norms, with some clients initially struggling to adapt. Early photographs of the Robie House, for instance, show traditional, older furniture in some rooms appearing out of place amidst Wright's modern interior design. #FrankLloydWright #FurnitureDesign #ArchitecturalHistory #PrairieStyle #BuiltInFurniture #InteriorDesign #ArtsAndCraftsMovement #ArchitecturalPhilosophy

This article details the contemporary renovation of a Federation-style cottage in Sydney, undertaken by architect Vanessa Wegner and Martin Fuller. The couple, with their two young children, sought a larger living space, leading them to a leafy suburb and this 1910-built property. While the cottage boasted well-maintained period details and appealing gardens, including a 100-year-old crepe myrtle, its 1980s extension featured a small, country-style kitchen/living/dining area that didn't meet their modern open-plan desires. Vanessa, inspired by hacienda-style homes, aimed to create living areas that seamlessly integrated with the garden. The renovation focused on a functional layout for the family of four. The entrance hallway now provides access to the boys’ shared bedroom, the main bathroom, laundry, and TV room on the right. At the end of the hall, the newly expanded kitchen/dining/living zone opens up to the meticulously landscaped garden, fostering a strong connection to nature. The left side of the hallway leads to the parents' suite and a third bedroom, which is versatile enough to serve as a playroom or future additional bedroom. Working within a budget, the family made conscious decisions, opting against adding an extra level, which is a common practice for Federation homes. This strategic choice allowed them to retain all essential living spaces on a single level, resulting in a modest yet highly functional internal area of 227m². The front of the house maintains its heritage charm with white walls, limewashed timber floors, and original pressed-metal ceilings, subtly highlighted by uplights instead of pendant fixtures. A key design element is the multipurpose backyard studio, connected to the main house by a deck and a pergola-covered walkway. These structures not only frame the garden but also create an internal courtyard effect. The studio serves as Vanessa’s workspace, guest accommodation, and a potential future bedroom for the boys, emphasizing its adaptability. The raised walkway doubles as an extension of the living spaces, incorporating a barbecue area and an alfresco dining setting, further encouraging outdoor living. Sustainability and cost-effectiveness were central to the renovation. Bricks from the demolished extension were recycled for new walls, and the old terracotta floor tiles were replaced with polished concrete. These material choices offer both aesthetic appeal and practical thermal benefits. The north-west facing living area benefits from the concrete floor's ability to absorb solar heat during the day and release it in the evening, while the eaves and crepe myrtle tree provide summer shade. The interior design of the extension features cedar battens on the ceiling, spotted gum joinery in the kitchen, and rosewood-framed doors and windows, introducing warmth and texture. The recycled-brick walls were painted white, adding a subtle textural layer that complements the intricate details of the original front rooms. The 5m-long kitchen island serves as a central social hub, and the wood-burning fireplace adds a cozy atmosphere to the revamped open-plan space, making it the family's primary gathering area. #FederationHome #HomeRenovation #SydneyArchitecture #ContemporaryDesign #IndoorOutdoorLiving #SustainableDesign #KitchenDesign #GardenIntegration #OpenPlanLiving

This article details the extraordinary transformation of an unassuming 1910 end-of-terrace house in Swansea, owned by Royston Jones and Fiona Gray. From its outwardly modest appearance, the interior reveals a remarkable collection of neo-Classical decorative plasterwork, demonstrating a deep appreciation and scholarly knowledge of late 18th-century English architecture and decorative arts. The owners, particularly Mr. Jones, have meticulously crafted these interiors, creating spaces that evoke the grandeur of larger estates but are scaled to their home. Mr. Jones's passion for architecture originated from his childhood experiences at grand estates, specifically Heveningham Hall, which fostered an admiration for the work of architect James Wyatt. His recovery from illness during his studies in London led him to more academic research into architecture and the creation of models. He later met Fiona Gray, whose organizational skills and support were instrumental to his work. Their first significant commission in 1985 involved a detailed model of Sledmere’s drawing-room, complete with miniature furniture and artwork, earning acclaim. Their work also includes exhibitions of Wyatt's watercolour designs and interiors of English and Russian country houses, as well as contributions to plasterwork restoration at Home House in Portman Square. This extensive experience has been channeled into their Swansea home, which Mr. Jones describes as an evolving project driven by a desire for experimentation and enjoyment. The interiors, though meticulously planned, have seen several iterations, with ceilings and decorative elements being refined over time. The house's entrance, despite its narrowness, immediately introduces visitors to this neo-Classical wonderland. A fibreglass Georgian fanlight over the inner door sets the tone. A small storeroom features a ceiling copied from George Richardson’s 1774 publication, 'A Book of Ceilings in the Style of the Antique Grotesque.' Mr. Jones has adapted Richardson's designs, re-proportioning them and substituting figures with generic Classical scenes, all executed in watercolour. He emphasizes that the colors used are carefully researched and mixed, often based on unique colored copies of Richardson's engravings. The dining room also features a Richardson-inspired ceiling from a 'breakfasting room' design, augmented with a cornice, frieze, and a chimneypiece inspired by an unexecuted Wyatt drawing for Heveningham Hall. The staircase, a visually distinct element, is adorned with dense white and two-tone grey ornamentation, drawing inspiration from Georgian staircases and specifically the magnificent plasterwork of Belvedere House in Dublin, which itself was influenced by Adam brothers' designs. Fiona Gray's study is decorated based on a Wyatt design for Curraghmore, Co Waterford, and the main bedroom ceiling takes its inspiration from a Robert Adam design at Headfort, Co Meath. The creation process involves modelling elements in plasticine or clay, from which silicon rubber moulds are made. These moulds are then used to cast plaster pieces, allowing for the replication of intricate designs at a relatively low cost. Currently, only one room, a rear bedroom, remains unfinished, with Mr. Jones contemplating a future design, possibly an Etruscan room. He expresses a desire for a larger canvas, such as a commission, to fully explore his creative visions. Meanwhile, he continues to create models of late 18th-century rooms, including elements for a model of the entrance hall to Heveningham Hall, underscoring his belief in Wyatt's architectural genius. #NeoClassicalArchitecture #HomeRenovation #DecorativePlasterwork #InteriorDesign #GeorgianInteriors #ArchitecturalModels #HistoricPreservation #SwanseaHome #JamesWyatt

James LaForce and Stephen Henderson, a New York couple of 34 years, embarked on a significant home transformation when they acquired a 6,000-square-foot loft in a historic Chelsea factory building. The expansive space, complete with broad windows and an auxiliary studio, presented a unique challenge: how to balance their social lives, which often involve hosting fundraisers and gatherings, with their desire for intimate downtime together. Their initial attempt to engage a trusted decorator, Fernando Santangelo, led them to Ryan Lawson, who was highly recommended by Santangelo himself. Lawson, known for his deep knowledge of decorative arts and innovative ideas, drew inspiration from diverse architectural and design references for the project. These included Lina Bo Bardi’s Casa de Vidro, Carlo Scarpa’s color-blocked Casa Tabarelli, and the playfully furnished Menil House in Houston. His objective was to craft a coherent narrative for the apartment that would reflect the couple's vibrant lifestyle, despite the disparate nature of his inspirations. The design process began with surgical layout adjustments to enhance the overall flow and functionality of the loft. One key modification involved reconfiguring the entry to create a more elegant foyer, guiding visitors through glass doors. This space was distinguished by Donald Judd-inspired shelves, a feature inherited from the previous owner, painter Tom Levine. The kitchen, originally an internal area, was opened up to an adjacent room, significantly increasing natural light and creating interconnected cooking and lounging zones. Throughout the apartment, ceiling planes were simplified, with exposed conduits removed and architectural lighting streamlined into a geometric vocabulary of squares, rectangles, triangles, and circles. Lawson meticulously emphasized artisanal craftsmanship wherever possible. This included mouth-blown glass panes in the internal partitions and monochromatic tile grids that distinctively mark each of the four bathrooms. Color played a pivotal role in establishing a spatial framework, with Lawson employing a unique palette inspired by Scarpa. Instead of conventional white walls, he opted for a shade he termed “cream of mushroom soup” as a neutral backdrop. Against this, bold splashes of color were introduced to act as visual anchors, such as striped paneling in the kitchen, a floating red bookcase in the library, and large wall-mounted fabric panels in the living room. These bold elements, counterintuitively, were designed to provide visual rest, freeing the eye from an overload of smaller details. The apartment serves as a showcase for LaForce and Henderson's eclectic yet unpretentious collection of art and furniture. Their acquisitions range from flea-market finds to pedigreed pieces, including vintage claw-foot consoles from the estate of Picasso biographer John Richardson and a Gothic Revival center table from the Mario Buatta estate. Unattributed vintage sofas were given new life through daring upholstery choices. The art collection, often small-scale and thrifty, was thoughtfully arranged. In the den, dozens of works, some anonymous and others by friends, form an immersive salon-style arrangement, treating them as “wallpaper” grouped from floor to ceiling. Provenanced pieces by artists like Robert Indiana and Paul Cadmus, whom the couple regard as gay forebears, were given prominent displays. Lawson highlighted that the success of the project stemmed from the clients' openness to innovative ideas. He appreciated their willingness to embrace a unique design formula, which allowed him to incorporate more esoteric references and bigger conceptual constraints. The resulting apartment is both beautiful and robust, designed to evolve with the couple’s expanding collections, as exemplified by the Josef Hoffmann picture nails on the kilim-lined partition in the sitting area, making artwork changes effortless. The loft successfully balances its role as a vibrant venue for social events with a comfortable retreat for the couple’s private moments, reflecting their dynamic lifestyle and refined taste. #ManhattanLoft #InteriorDesign #RyanLawson #HistoricBuilding #EclecticDecor #ArchitecturalDigest #LuxuryLiving #ArtCollection #ColorPalette

The popular television series _Yellowstone_ is concluding after five seasons, but its influence on interior design, dubbed "Rich Ranch" style, is expected to endure. This aesthetic combines luxurious elements with rustic, Old-West inspired materials, moving beyond traditional cowboy decor to embrace a more refined yet natural sensibility. Kylee Shintaffer, an interior designer proficient in this style, describes it as a delicate balance of mixing authentic rustic materials with contemporary furnishings. She notes that reclaimed wood and antique stone are frequently paired with modern elements like steel and glass to achieve a modernized rustic look, emphasizing that metal accents should be smooth for a contemporary feel, rather than hammered. The enduring appeal of the "Rich Ranch" style is not solely attributed to the show's popularity. Shintaffer suggests that homeowners are increasingly seeking spaces that offer an escape and a connection to nature, combined with an elevated sense of comfort. To incorporate this style into a home, four key elements are highlighted: integrating reclaimed wood and timeworn stone with modern accents, utilizing luxe, natural fabrics, incorporating old-school wall finishes, and blending vintage with contemporary furnishings. Regarding fabrics, the style favors natural materials such as wool, cashmere, and linen, often chosen in neutral tones for a contemporary touch. These are complemented by other luxurious textures like faux furs and jewel-tone velvet to create a cozy and opulent atmosphere. For wall finishes, traditional options like plaster and lime paint are recommended to add subtle texture and a handmade quality reminiscent of classic ranches. When these historical finishes are paired with modern furniture and decor, the space embodies the sophisticated "Rich Ranch" aesthetic. Finally, balancing vintage pieces with clean-lined contemporary furnishings is crucial for achieving a timeless look that avoids feeling dated. This approach ensures that the interior design remains fresh and relevant while retaining the character of older elements. The article aims to provide practical guidance for readers looking to adopt this distinctive interior design trend, drawing inspiration from the show's aesthetic and broader lifestyle preferences. #InteriorDesign #YellowstoneInfluence #RichRanchStyle #HomeDecor #RusticLuxury #KyleeShintaffer #NaturalMaterials #ModernAccents #VintageContemporary