Restoring a Queen Anne in Mount Airy one piece of wood at a time

Mike and Laura Brosius, drawn to Astoria, Oregon, and a specific 1892 Queen Anne/Stick Style house, embarked on a significant restoration project. The house, untouched by prior remodels, boasted original stained-glass windows, Eastlake-style hardware, and faux-grained woodwork, retaining its original room layouts. However, after purchasing it in 2016 at a reduced price, they discovered the extent of neglect that necessitated a comprehensive restoration to revive its 19th-century elegance. The exterior of the house suffered from decades of neglect, with white paint obscuring decorative trim. The attic was infested with pigeons and roof leaks, leading to significant water damage. All 38 sash windows required restoration due to broken pulleys, paint-sealed frames, and shattered glass. Inside, plaster throughout the house was cracked, and the dining room's embossed Anaglypta wallcovering was damaged. The faded and water-damaged faux-grained wainscot in the front hall also needed attention. Both bathrooms were in disrepair; the upstairs featured a cheap fiberglass shower, while the downstairs suffered from severe water damage and lacked heating. The main rooms had inappropriate shiny brass lighting and wall-to-wall beige carpeting, replacing original features. A poorly executed 1960s kitchen remodel had removed original trim, installed an aluminum slider window, a dropped ceiling, and a dividing peninsula. The kitchen's deck, offering views of the Columbia River, was rotting beneath three 1970s plastic bubble skylights. The restoration process addressed numerous structural and aesthetic issues. The two-brick-wythe foundation, compromised by water infiltration, required hundreds of feet of new drain lines. A new concrete foundation was poured, necessitating an 18-inch excavation to create sufficient ceiling height for a new mudroom and bath, extending the projected 90-day project to nine months. Seismic upgrades were performed, the crumbling chimney was rebuilt, and a new cedar-shake roof was installed to match the original. A new HVAC system was integrated, and all 38 windows were meticulously removed, restored, and rehung. Interior renovations focused on historical accuracy and artisanal craftsmanship. The original, embossed Anaglypta wall covering in the dining room was repaired and refinished. Floors, previously bleached, were stained to a rich brown to complement the restored woodwork. Gilded picture-rail molding, discovered in the attic, was repaired and reinstalled. An archival photograph of the original owners guided the replication of missing battlement moldings, window trim, and rosettes. The Brosiuses opted for a “Painted Gentleman” aesthetic for the exterior, utilizing a subdued polychrome palette of Benjamin Moore’s Knoxville Gray for the body, low-luster black for sashes, and Montgomery White for trim, with Brass Monkey metallic accents, departing from the brighter “Painted Lady” style. Talented local artisans contributed significantly; Christy Mather repaired the Anaglypta, while Joanne Lumpkin Brown and Faith Brown restored and faux-grained 29 doors, six pocket doors, and 31 windows, as well as re-creating trompe l’oeil wood-panel wainscoting. Faith also stenciled gold medallion patterns in the dining room and parlor. The kitchen was completely gutted and rebuilt to an 1890s aesthetic, featuring a stenciled floor mimicking Victorian linoleum, subway tiles, period lighting, and a restored vintage Magic Chef stove. A former pantry was reinstated to its original use. Swedish wallpaper from Boråstapeter was chosen for the parlor, honoring Gustav Holmes, the original owner. The house was furnished with period antique furniture and lighting, complemented by personal travel mementos, completing a comprehensive and historically sensitive restoration. #HomeRestoration #QueenAnneArchitecture #VictorianHome #HistoricalPreservation #InteriorDesign #ExteriorPainting #ArchitecturalDetails #Craftsmanship #CoastalHome

Sarah Londerville, owner of Manomin Resawn Timbers, shares her journey from a retail career to leading a company that specializes in reclaimed wood. Inspired by her father's work with scrap metal, Londerville recognized the unique aesthetic and historical value of reclaimed wood, leading her to establish Manomin Resawn Timbers. The company offers reclaimed wood products such as flooring, paneling, mantels, and doors, emphasizing the story embedded in each piece of wood. One significant advantage of reclaimed wood flooring is its stability, allowing it to be installed over in-floor heating or directly on concrete floors without the movement issues typically associated with new wood. This stability is a direct result of the wood's age and the reclaiming process. The grain of reclaimed oak, for example, is notably denser and distinct from new oak. Additionally, the natural textures, patinas, and cracks found in old boards are considered artistic elements, making each timber unique. Londerville notes that a single barn can yield timber from various species, adding to the diversity of available materials. The restoration process for reclaimed timbers involves several critical steps to ensure their suitability for modern homes. Upon receiving timbers from old warehouses or barns, they undergo a drying process in a kiln to match the moisture content of a client’s subfloor. This heating and cooling cycle also eradicates any insects or larvae present in the wood. Following the drying, all metal is meticulously removed from the timbers. The boards are then straightened, and their thickness is made consistent, sometimes through planing. Any defects, such as holes or rot, are removed to ensure the wood's usability and quality. Londerville expresses a fondness for Douglas Fir, which was the first material she worked with and is featured in her own home. She also appreciates antique elm for its distinctive grain and original texture, and antique oak with sawmill marks, particularly for its urban loft aesthetic. The company's most popular products include mantels, which are also among their more affordable offerings, and flooring. There is a growing trend for using timbers to enhance ceiling designs, adding character to spaces. For those seeking to incorporate reclaimed wood into their projects, Londerville advises considering the home's existing style and furnishings. For traditional or formal settings with white cabinets and trim, a darker reclaimed floor can create a striking contrast. For contemporary and clean aesthetics, natural antique elm or antique oak with sawmill marks can provide a unique and fitting touch, offering an urban loft feel. The company's commitment to preserving the history of wood while providing durable and aesthetically pleasing products aligns with the increasing demand for sustainable and character-rich building materials. #ReclaimedWood #SustainableDesign #HomeInteriors #WoodFlooring #ArchitecturalTimbers #RestorationProcess #InteriorDesignTips #ManominResawnTimbers

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

The article details the process of repairing and restoring a brownstone's front stoop and historic ironwork, specifically focusing on the replacement of a stolen newel post and the resurfacing of the stoop stairs. The authors, known as the Brownstone Boys, recount the initial shock of discovering one of their two front iron newel posts missing shortly after closing on their house. They explain that these newel posts, along with iron railings, are iconic features of historic brownstones and their absence significantly detracts from the property's character. The investigation into the theft revealed that the steel rod extending from the top of the newel post into its cement base can rust and sever over time, causing the cap to loosen. This looseness makes the post an easy target for thieves. The authors ensured their remaining post was solid and committed to monitoring its condition to prevent a similar incident. Fortunately, the design of their stolen newel post was common in Brooklyn, making a replacement relatively easy to find. They located an exact match at a salvage yard, albeit painted brown and with flaking paint. Their restoration plans for the newel post involve installing it and applying a fresh coat of black paint, a necessary maintenance step for iron railings every few years to prevent rust. In addition to the ironwork, the stoop stairs were also in need of repair, with brownstone layers chipping away. This common renovation issue led them to include resurfacing the entire stairs with a new layer of brownstone in their project plans. Acknowledging that this is not a DIY task they are comfortable with, they obtained several professional quotes, ranging from $2,000 to $4,000 for the work. This stoop and ironwork project represents a significant step forward in their brownstone renovation journey, as it was a task they had continuously deferred until the interior living spaces were completed. The completion of this exterior work is anticipated to restore the historic charm and integrity of their brownstone's facade. #BrownstoneBoysReno #HistoricIronwork #StoopRepair #NewelPostRestoration #BrownstoneRenovation #BedStuy #HomeImprovement #ExteriorRestoration

This article outlines eight practical methods for repairing and restoring various types of wood damage, aiming to enhance the natural beauty and longevity of wood elements within a home. The first trick involves naturally restoring wood using coconut oil. Coconut oil rehydrates the wood, brings out its natural color, and provides a soft glow, effectively acting as a natural restorative agent that deepens the wood's appearance without artificial stains. For those looking to stain wood a darker, yet still natural color, the article suggests using vinegar. Balsamic or apple cider vinegar can be applied, and scrubbing it in with a wire brush can further enhance the staining effect. The third method addresses minor nicks and scratches with a natural recipe consisting of three-quarters cup of oil, such as canola oil, and one-quarter cup of vinegar. This mixture, when applied according to instructions, can restore wood pieces to their original condition. Additionally, rubbing scuffs with a walnut is presented as another simple solution for minor imperfections. For more significant damage, the article recommends using Bondo all-purpose filler, which is favored by many furniture restorers. This involves mixing Bondo, applying it to damaged sections, sanding it smooth, and then potentially repainting the entire piece for a uniform finish. When dealing with older, painted pieces that have endured wear and tear, the fifth trick suggests stripping the piece down to its original wood. Depending on the area size, this can be achieved by sanding for small sections or using a liquid paint stripper for larger areas. The liquid stripper is applied evenly with a chip brush, left for 30 minutes, and then scraped away along the wood grain. Refinishing wood like a professional is the sixth technique discussed. This process emphasizes the importance of sanding the wood thoroughly, even if no finish is visible, starting with coarse-grit sandpaper and progressing to fine-grit, always sanding with the grain. A smooth surface ensures even stain absorption. Applying stain with a rag and buffing thoroughly afterward leads to a durable and attractive result. The seventh trick focuses on repairing holes, particularly common in reclaimed wood or pallets. Instead of glue, the article advises using sharpened wood pieces like toothpicks or skewers to fill holes, which allows for consistent staining. After insertion, the wood is sanded flush. Finally, the article provides a solution for persistent watermarks. If watermarks are resistant to refinishing or repainting efforts, a spray shellac, such as Zinsser Bulls Eye Spray, can be applied. This shellac coating seals the watermark and prevents bleed-through, enabling a smooth painting process. These methods provide comprehensive solutions for maintaining and enhancing the appearance of wooden furniture and elements in a home. #WoodRestoration #FurnitureRepair #DIYHomeImprovement #NaturalWoodCare #WoodStaining #DamageRepair #HomeDecorMaintenance #WoodFinishing

The AESTUS series of stratified wooden vases represents a fusion of traditional materials and contemporary technology, drawing inspiration from the dynamic interplay between nature and machinery. These vases, designed by architect and wood researcher Oliver David Krieg, are characterized by their soft natural curves and a futuristic, warm aesthetic, achieved through the precise alignment, combination, and gentle sculpting of hundreds of layers of beech wood. Each vase incorporates a stainless-steel internal cavity, which serves both as a water-resistant repository and a stable base. Oliver David Krieg's design process for AESTUS intentionally blurs the lines between handcrafted artistry and automated manufacturing. The vases are carved by an industrial robot, capturing the fluidity of the machine's movements within the intricate texture of the wood. This approach yields unique, custom-made pieces, fabricated in Germany from premium beech wood, intended to highlight the emerging aesthetic possibilities within modern wood design. The project aims to celebrate the innovative application of technology to natural materials. While not explicitly following trends, the AESTUS collection aligns with a broader movement in design influenced by digital design and fabrication processes. This trend allows for the creation of complex, three-dimensional shapes that were previously unattainable. AESTUS distinguishes itself through its dialogue between natural materials and advanced technology, prompting reflection on contemporary technological advancements and natural forms. The development phase presented challenges in balancing natural, physical, and digital elements, particularly in integrating the robot's movements as a primary design tool. Parametric software and digital simulation tools were developed to explore design possibilities and seamlessly incorporate robotic fabrication, complemented by the production of prototypes to understand robotic constraints and ensure consistent quality. The future direction for AESTUS involves increasing exposure for Krieg's studio and attracting clients interested in either the specific product line or the underlying manufacturing process, which has potential applications across various surfaces and materials. Current efforts include developing new versions of AESTUS with alternative materials. From the perspective of interior design, wood, as one of humanity's oldest and most natural materials, continues to hold allure for designers and architects. Despite a past perception of being outdated, wood has recently seen a resurgence in interest due to its sustainability, adaptability, and inherent tactile and visual depth. This renewed appreciation for natural materials coincides with the emergence of innovative digital technologies that empower designers to engage directly with novel fabrication methods. Consequently, the interior design and interior products sectors are increasingly prioritizing sustainability and responsible manufacturing. This shift does not necessarily signal the emergence of specific new styles but rather a renewed focus on modern and classic design solutions that incorporate wood. #HomeDecor #ArtDesign #InnovationDesign #WoodenVases #DigitalFabrication #RoboticsInDesign #SustainableMaterials #InteriorDesign #BeechWood

Mount Vernon's Preservation team undertook the temporary removal of the New Room's floorboards as part of the ongoing Mansion Revitalization Project. This crucial step aimed to repair the Mansion's underlying framing and offered significant insights into 18th- and 19th-century construction techniques. For years, there was debate regarding the originality of the New Room's floorboards, with the presence of 19th-century nails driven through the face of each board suggesting a later replacement. This nailing technique contrasted with the blind nailing method, a more sophisticated 18th-century practice where nails were concealed by being driven at an angle through the board's edge, creating a smooth surface, as observed in Washington's study. The face-nailing indicated that the floorboards had been lifted previously, but it remained unclear whether they were reinstalled or replaced entirely. Further investigation by Director of Preservation Tom Reinhart in 2013 provided critical clues. The New Room's flooring exhibited gauging and undercutting, a standard 18th-century Chesapeake practice to ensure a level surface. This involved planing the top and sides of boards while leaving the undersides rough-sawn, then cutting a rabbet along the underside edges to ensure uniform thickness at the joists. Additionally, clear evidence of blind nailing and doweling was found, further supporting the idea that the boards were original. Documentary evidence from a 1787 letter showed Washington requesting unusually long, inch-and-a-half-thick plank, 24-foot-long, for floorboards—measurements that matched the existing New Room floorboards. The unlikelihood of finding salvaged 18th-century 24-foot blind-nailed boards for replacement solidified Reinhart's conclusion that these floorboards were indeed original to George Washington. The removal process commenced with meticulous documentation using photogrammetry to create 3D models and label each board, ensuring a reliable guide for reinstallation. The room's mopboards were carefully removed, followed by the slow and careful release of 57 floorboards over two weeks. Preservation carpenters gently worked the boards up, often sawing through stubborn nails to avoid damage. Once the floorboards were lifted, plywood was temporarily installed, later replaced by a more robust lateral shoring system, or "dance floor," providing a stable working surface and additional structural support from the cellar below. Upon lifting the floorboards, the team discovered direct evidence of 18th-century craftsmanship, including cut dowels and bent nails from the original blind nailing technique. This confirmed the floorboards' authenticity and indicated they had been face-nailed back into place during earlier repairs. Dendrochronology revealed that much of the underlying framing, including many joists and one surviving summer beam, had been replaced in 1838. This large undertaking would have necessitated lifting the floorboards, explaining the 19th-century nailing techniques observed. The floorboards were then transported to the Preservation lab for in-depth analysis, where Project Preservationist Clay Fellows and his team documented fastener locations, providing crucial information for designing new joists and summer beams. Contract conservator Andy Compton and former carpenter Dave Weir cleaned and repaired the floorboards, plugging 19th-century nail holes to restore their original 18th-century appearance. The floorboards will be reinstalled using the original blind nailing method, ensuring the structural integrity of the Mansion and deepening the understanding of 18th-century craftsmanship for future generations. #MountVernon #MansionRevitalizationProject #HistoricPreservation #18thCenturyCraftsmanship #FloorboardRestoration #GeorgeWashingtonHome #ArchitecturalResearch #Dendrochronology #Conservation

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

This article details the comprehensive renovation of a 120-year-old historic carriage house on New York's Long Island by its new owner, Jamie Morgan, founder of Blake & Dane interior design studio. The property, originally part of a French Beaux-Arts style estate, presented a unique challenge: preserving its historical essence while adapting it for modern family living. Morgan and her husband, Chris, were drawn to the house's character and history, including its 12-foot ceilings, a 30-40 foot entryway cupola, and visible remnants of its past use, such as where hay entered and the original horse doors. The core objective of the renovation was to enhance these historical attributes without compromising contemporary comforts. The kitchen, initially a challenging long, narrow galley layout, was transformed into an intimate family space. A large kitchen island with seating on both sides was introduced to serve as a central gathering point for meals and entertaining. The high 12-foot ceilings, which could have posed a design constraint for cabinetry, were ingeniously addressed by integrating a library ladder and brass rail system, turning a potential problem into a distinctive feature. White kitchen cabinets with dark stone countertops and Signature Hardware pulls were used, with upper glass cabinets skinned in white oak, contributing to a tailored aesthetic. A custom-designed plaster cooker hood and Arabescato Antico marble backsplash further elevated the kitchen's traditional yet modern appeal. The dining room highlights many of the carriage house's original features, including warm-toned ceiling beams from its days as an outhouse. Railings around the stairs and raised floor spaces subtly nod to the former stalls and stables. To visually break up the open-plan living and dining area and add sophistication, elegant moldings and wainscoting were newly introduced. A custom black ash dining table paired with upholstered dining chairs from Arhaus ensures a sleek, contemporary look that harmonizes with the historic backdrop. An arched doorway off the kitchen leads to a butler's pantry, distinguished by its deep green/teal subway tile color scheme. This space provides practical storage with light oak cabinetry and dark wood open shelves, and serves as an additional food preparation area, compensating for the galley kitchen's smaller footprint. The home office masterfully combines old and new elements, featuring an original window alongside a newly installed white oak coffered ceiling. This traditional framework is juxtaposed with contemporary office furniture, including a streamlined desk and striking red chairs, and a Phillip Jeffries' Burled Chevron Carob wallcovering. The design ensures privacy while maintaining an open, airy feel, allowing the office to overlook the living space. The primary bedroom exudes a traditional ambiance with bespoke millwork creating a fitted look around the Arhaus bedframe. Benjamin Moore's Misty Gray on the walls and millwork offers a cool, restful atmosphere, complemented by colorful Milan bedding from Annie Selke, a large arched floor-standing mirror, and a white area rug. The primary bathroom was designed for luxury, incorporating Carrera marble tiles, Waterworks fixtures, and an Aerin Bonnington Chandelier. The layout specifically frames a freestanding bath beneath a window, with watery blue walls adding a shimmering effect. The overall renovation strategy prioritized preserving the home's unique character while upgrading amenities and adjusting the layout to suit modern family needs, resulting in a successful blend of historical charm and contemporary functionality. #InteriorDesign #HistoricRenovation #CarriageHouse #HomeTour #KitchenDesign #DiningRoom #HomeOffice #BedroomDesign #BathroomDesign

This article provides a comprehensive guide to professional repair and restoration services for various beloved belongings, emphasizing the value of craftsmanship over DIY solutions. It highlights local experts in the Twin Cities area who can breathe new life into items ranging from furniture and rugs to jewelry, clothing, and even specialized equipment. The guide begins by addressing "Fix-It Dilemmas" related to wood and woven items. The Wicker Shop in St. Paul offers refurbishing and seat-weaving services for wicker furniture, along with supplies for DIY enthusiasts. American Rug Laundry, a 129-year-old establishment in Minneapolis, specializes in repairing diverse rug issues such as unraveling edges, fraying, fading, holes, and stains. J Michaels Co., a Whittier-based shop with over 70 years of experience, provides furniture restoration for everything from kitchen cabinets to antique chests, serving interior designers and reupholsterers. The article then focuses on investment pieces and accessories. Don’s Leather Cleaning in Minneapolis is recommended for restoring suede and leather items, including salt-stained Ugg boots and faded designer handbags. Luggage World in St. Louis Park is presented as a resource for repairing luggage issues like wobbling wheels, broken zippers, and cracked shells. For seasonal storage of furs, All Seasons Garment Care and Tailoring, with its eight metro locations, is suggested as a reliable option, building on the legacy of the former Ribnick Furs. Niche repair services for collectibles and heirlooms are also covered. Gaytee-Palmer, a century-old company in Minneapolis, specializes in restoring stained glass for both monumental structures and residential windows, lamps, and cabinet doors. Museum Services Incorporated, also in Minneapolis, offers conservation and restoration for various art mediums—textiles, ceramics, paintings, and bronze—and can repair or create custom frames. Lazarus Crystal Restoration, run by Diann Clendening in St. Paul, provides repair services for cracked crystal, broken figurines, and chipped goblets by appointment. For dull blades, Vivront in Edina offers on-site sharpening, tip and chip repair, and mail services for knives. Repair Lair, a fix-it and consignment store founded by Nancy Ford in Minneapolis, focuses on extending the life of camping gear. Addressing clothing issues, the article highlights several tailors. Sew What Style in downtown Minneapolis is noted for quick and quality tailoring for various garments. Tom’s Tailor in St. Paul is recommended for complex alterations, including those for investment designer pieces. Amazing Alterations in Anoka specializes in tailoring vintage dresses, allowing for modern updates or preservation of originality. Satchel B. Moore at Science and Kindness focuses on mending and patching denim jeans, transforming them into wearable art. The article also features expert advice. Alex Hernandez from Danish Teak Classics’ restoration workshop shares insights on fixing furniture, advising readers to seek pieces with good pedigree and quality materials for restoration, and recommending a regular maintenance routine with oil, wax, or wood soap. Catherine Thies, owner of Filigree Jewelers, provides guidance on antique jewelry restoration and care, emphasizing the importance of professional cleaning, mindful wearing habits, and understanding that restoration is a time-consuming, multi-specialist process. Jacqueline Fortier, an interior designer and co-owner of J. Atelier, suggests inexpensive wooden chairs as versatile fixer-upper furniture pieces for adding charm to a space and advises against DIY repairs for complex items, recommending local experts like Bob’s Binding for rugs, J Michaels Co. for furniture, and Helen Miller Studio for traditional upholstery. Patric Richardson, known as the “Laundry Guy,” advocates for gentle and minimalist laundry practices, recommending oxygen bleach as a versatile stain remover and encouraging individuals to learn how to care for their vintage and sentimental garments themselves. #FurnitureRestoration #ClothingRepair #JewelryRestoration #HomeMaintenance #LocalExperts #VintageItems #Craftsmanship #TextileCare #SpecializedRepair

Furnishing a home with antique pieces does not necessarily have to be expensive, especially if one is willing to undertake restoration work. This approach is championed by Jordan Slocum and Barry Bordelon, known as the Brownstone Boys, who emphasize that while already restored pieces are costly, items needing significant attention can be acquired for much less. The Brooklyn-based designers, whose book “For the Love of Renovating” is due out soon, actively seek out furniture from vintage shops, architectural salvage yards, and even discarded items on sidewalks in New York. They recently rescued a wooden side chair with a damaged seat and multiple layers of old paint, which they then restored using techniques commonly applied to the woodwork of historic brownstones. The restoration process begins with removing any existing upholstery to access the wooden frame. The initial step for paint removal involves using a heat gun to soften and scrape off as much paint as possible. This method is effective for primary paint removal, but it often leaves behind some remnants. For more stubborn paint, a liquid paint stripper, such as CitriStrip, is applied generously and allowed to sit for several minutes. After the stripper has worked, a metal tool is used to scrape off the softened paint, with steel wool and a rag employed for persistent areas. Following paint removal, the chair is thoroughly cleaned with denatured alcohol and steel wool to eliminate any residue. The next crucial step is sanding the entire chair to remove any remaining paint flecks and to prepare the wood surface. The process involves starting with coarser sandpaper, such as 80-grit, and gradually progressing to finer grades, typically ending with 400-grit, to achieve a smooth, raw wood finish. While power sanders can be used for larger areas, hand sanding with ordinary sandpaper, sometimes taped to a wood block, is often necessary for intricate curves and crevices. Once the bare wood is exposed, a wood stain of choice is applied. The Brownstone Boys used Varathane Early American stain, applying it with cheesecloth and working along the wood grain for even coloration. After the stain dries, the chair is sanded again to smooth any raised grain. For the seat, while upholstery is an option, the Brownstone Boys chose pressed-cane webbing, which they purchased online. To install the cane, the material is cut slightly larger than required and soaked in water for about 20 minutes to make it pliable and easier to work with. Wood wedges or a screen-rolling tool are then used to secure the edges of the cane into the groove around the chair’s seat. Excess material is trimmed, and wood glue combined with a reed spline is used to lock the cane webbing securely in place. The final stage of restoration involves applying a clear protective coat. The Brownstone Boys used Varathane matte polyurethane, applied with a fresh paintbrush or rag to prevent brushstrokes. A single coat may suffice, but additional coats can be applied for increased durability or a more even finish. Once completed, the restored chair is ready for use, with the Brownstone Boys planning to use theirs in their office, and potentially in a client's home, ensuring its enjoyment for years to come. This project illustrates that with a methodical approach, restoring an old piece of furniture can be a rewarding and cost-effective endeavor. #FurnitureRestoration #DIYHomeImprovement #BrownstoneBoys #AntiqueFurniture #RefinishingTechniques #Woodworking #HomeDecor #ChairRestoration

Maintaining the original finish on antique furniture is crucial for preserving its value, as advised by Karen Keane, CEO of Skinner Inc. Many antique pieces have been inadvertently damaged by owners attempting to "improve" their appearance through repainting, touching up, lacquering, oiling, or sanding. Keane emphasizes that the finish significantly impacts an antique's worth. For painted antique furniture, collectors prioritize items that retain their original appearance. Eighteenth-century pine country furniture, for instance, was often painted in vibrant colors like blue or barn red. Over time, these paints oxidize and fade, developing a desirable mellow, "dry" look. This natural aging process, known as craquelure, where paint begins to crack, is acceptable and even preferred by collectors as it indicates originality. However, owners should be wary of uniform craquelure, which can signify forgery. Applying modern lacquered finishes to originally painted pieces is generally disliked by collectors. Stained antique furniture also requires careful preservation. Historically, American furniture made from domestic woods like maple or cherry was stained to mimic mahogany. A common mistake is oiling stained wood, which Keane strongly advises against. Oil penetrates the wood grain, oxidizes, and can cause the wood to blacken, as observed in her own kitchen floor treated with Murphy Oil Soap. Instead, solid waxes—such as paste wax, butcher's wax, or French polish—are recommended. These waxes, typically containing beeswax, create a protective surface and can be easily removed, a quality valued by conservators. Liquid waxes should be avoided due to their potential inclusion of damaging oils. For antique pieces that have already been stripped, varnished, or oiled, owners have the option to leave them as they are or have them professionally restored to their original state. However, restoration of a damaged piece typically does not increase its market value. The trade market frequently encounters compromised pieces. Keane notes that owning a piece not in its original condition can alleviate concerns about further damage. She cites her own Victorian drop-leaf dining table, which was stripped of its original finish, as an example. She purchased it at a lower price and feels less stressed about potential wear and tear, occasionally waxing it but not overly worrying about spills or damage. #AntiqueFurniture #FurnitureRestoration #PreservationTips #HomeDecoration #AntiqueAppraisal #WoodFinishing #InteriorDesign #Collectibles #VintageHome

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

Designers Barry Bordelon and Jordan Slocum, known as the Brownstone Boys, undertook a unique brownstone renovation project in Bedford-Stuyvesant, Brooklyn, for clients Taylor and Moore. Unlike typical brownstone remodels that often require extensive varnish stripping, this project allowed them to preserve much of the original wood. The three-story home's existing wood bones were in solid condition, enabling the retention of original floors, a feature Bordelon highlighted as particularly appealing. The clients, who were expecting their first child, also had the unusual advantage of living on the ground floor during construction, after a light touch-up of its kitchen and bathroom. The renovation focused on the top two floors, where the designers introduced new elements while preserving and enhancing existing features. A key addition was a new kitchen on the main parlor level, a space that previously lacked one. For this, Slocum and Bordelon utilized Semihandmade’s paintable DIY Shaker cabinets, finished in their preferred neutral shade, Shaded White by Farrow & Ball, a creamy white with gray undertones. The vent hood was cleverly crafted from a simple drywall box with a 2-inch radius corner bead, painted to match the walls. This design philosophy extended to the adjacent dining area, where custom open shelves by Brooklyn Builders Collective mirrored the curved silhouette. Addressing the challenge of narrow brownstone layouts, discreet 15-inch-deep cabinets were integrated into the island for extra storage. Unique pendant lights, sourced from Taylor's ceramist mother, complemented the Paonazzo stone counters, which featured subtle brown-gray flecks. The primary bathroom's design drew inspiration from the clients' backgrounds, incorporating coastal elements reflecting Moore's Californian roots, Taylor's Australian heritage, and their shared time in North Carolina. A bespoke touch was the pinkish terracotta Roman Clay backdrop behind the tub, contrasted with an off-the-shelf slatted white vanity from Signature Hardware. The renovation also involved restoring missing historical elements. Fireplace mantels, likely original to the 1800s construction but later removed, were acquired through an Instagram message from a New Jersey homeowner, saving the designers from purchasing new marble surrounds. Existing features were also given a modern update. The home’s original staircase, deemed structurally sound, was painted Tricorn Black by Sherwin-Williams and adorned with a custom runner created from Moroccan rugs collected by Taylor and sewn together. A skylight on the top floor, originally part of a ventilation shaft, was creatively repurposed. By removing flanking windows, the space was reclaimed to build a shower stall directly beneath the skylight, allowing natural light to flood the area. This sun-drenched corner was finished with a moody, two-tone tile scheme, using Zia Tile’s 4-by-4-inch zellige tiles in Tidepool and Aegean, showcasing a blend of preserved history and modern functionality. #BrownstoneRenovation #BrooklynDesign #HistoricPreservation #KitchenDesign #BathroomRemodel #InteriorDesign #CustomCabinetry #SustainableRenovation #HomeTours

The provided content offers a comprehensive overview of various wood treatment products designed for both interior and exterior applications. It highlights how these treatments can be utilized for furniture upcycling, garden protection, and general home refreshment. The selection includes essential categories such as wood preservatives, shed and fence paint, decking paint, varnishes, and wood stains. For interior projects, the article details options like undercoat and primer paints, furniture paint, cupboard paint, and specific interior wood paints. These products cater to diverse needs, from preparing surfaces for a new finish to adding a decorative touch or enhancing durability. The range of interior wood treatments ensures that homeowners can find suitable solutions for different types of wooden furniture and fixtures within their living spaces. Conversely, exterior wood treatments are showcased to protect and beautify outdoor wooden structures. Products like wood preservatives and shed and fence paint are crucial for safeguarding against environmental elements, extending the lifespan of garden sheds, fences, and other outdoor timber. Decking paint and garden furniture paint and stain provide specialized solutions for maintaining and revitalizing wooden decks and outdoor furniture, offering both protection and aesthetic appeal. The article also mentions specialized products such as wood dye, which allows for altering the color of wood while preserving its natural grain. To assist customers in making informed choices, exterior paint tester pots are available, enabling users to sample colors and finishes before committing to a larger purchase. Additionally, a wide array of decorating and painting supplies is listed, ensuring that all necessary tools and accessories are accessible for any wood treatment project. The content is organized to guide users through different product types, emphasizing their specific applications and benefits. It implicitly suggests that proper wood treatment is vital for both the longevity and appearance of wooden items, whether indoors or outdoors. The variety of products available indicates a focus on providing solutions for various wood types and desired outcomes, from basic preservation to decorative enhancements. This structured approach helps users easily navigate the extensive product offerings to meet their specific project requirements. #WoodTreatments #InteriorWoodPaint #ExteriorWoodCare #FurnitureUpcycling #GardenMaintenance #DeckingPaint #WoodStain #Varnishes #HomeImprovement