Ghillanyi House (1957) revisited

Shandy Hall, a historic estate in Wilmington, North Carolina, underwent a comprehensive reconstruction led by Dr. Robert Fleury and Mark Batson of Tongue & Groove Design+Build. The property, originally a land grant from King George II in 1737, has a rich history, serving as a home for sailors during the Revolutionary War and a headquarters during the Civil War. Despite being rebuilt multiple times after a fire in the mid-1800s, little of the original structure remained by the time Fleury acquired it in 2019. The reconstruction project was conceived not as a demolition and new build, but as a meticulous recreation of the original 18th-century structure using modern materials to ensure longevity. A feasibility study revealed that prior renovations had left few authentic remnants, mostly limited to lock sets, a few doors, and timber beams in the foundation. This led to the decision to carefully deconstruct the existing home, salvaging these original pieces, and then rebuild on the same footprint and architectural style of the 1700s. The goal was to honor the past while creating a functional, livable home for the future. Interior designer Liz Carroll contributed to the project, focusing on a Southern-style aesthetic that blended seamlessly with the home’s historical roots. The design process began with extensive research in the North Carolina Room at New Hanover County’s library, gathering historical photos and documents. Each room was measured to accurately replicate the original layout, with minor adjustments made for improved functionality and flow, addressing issues like narrow hallways or low ceiling heights. Many salvaged materials, including original floor joists and heart pine, were repurposed throughout the home. Seven original fireplaces were recreated using salvaged brick, and traditional elements such as wainscoting were incorporated into the dining room to evoke an 18th-century ambiance. The interior design scheme drew inspiration from a late 19th-century Swedish chest, which influenced the integration of family heirlooms and a treasured tapestry. A unique design feature is a 1902 family canoe, suspended above the staircase with an electrical mechanism for raising and lowering. The kitchen was returned to its original location and updated with modern amenities, including a flip window for access to an outdoor grilling area and pool. Natural stone countertops with green variations, copper accents, and custom cabinetry with vintage details contribute to a warm and inviting atmosphere. The outdoor area features a lap pool, a nod to Dr. Fleury’s background as a collegiate swimmer, and a nine-foot custom farmer’s table and benches made from wood salvaged from the original Shandy Hall. The upstairs layout maintained the original design, featuring two en suite bedrooms, fireplaces, balconies, and a newly added bunk room in the front gable. Interior paint colors, including serene blues, mossy greens, and pops of yellow and deep red, along with carefully selected window treatments featuring traditional textiles like florals, toile, paisley, and checks, reinforce the home’s historical character and connection to its surroundings along Bradley Creek. The reconstructed Shandy Hall now stands as a testament to historical preservation and thoughtful modern living. #ShandyHall #HistoricHome #HomeReconstruction #SouthernArchitecture #InteriorDesign #HistoricPreservation #WilmingtonNC #CustomBuild

The article details the comprehensive restoration of a Grade II-listed Georgian townhouse in London, a property that had remained untouched for eight decades. Creative director Mike Fisher of Studio Indigo led the architectural redesign, transforming the building into a modern home while preserving its historical integrity. The project aimed to infuse modernity into the 1820s structure, which retained many original architectural features despite suffering minor bomb damage during the 1940s. Nathalie Hirst, the homeowner and a property buyer, actively contributed to the design process, emphasizing the importance of selecting features that would enhance the property's value and create a special atmosphere. The renovation prioritized maximizing space, a crucial aspect given the townhouse's compact size of under 3,000 square feet. This was achieved by opening up connections between rooms, creating seamless views to the garden, and optimizing the layout to make the interior feel larger than its actual dimensions. Key structural changes included extending and opening up the ground floor to create a cohesive kitchen, sitting, and dining area, forming the heart of the home. The original form of the closet wing was preserved, and existing spaces were reconfigured to incorporate en-suite bathrooms. These new additions were designed with a modern aesthetic that remained sensitive to the house's historic character, avoiding overly contemporary elements that might clash with its Georgian roots. The restoration also involved reinstating and refurbishing period details such as paneling, cornices, skirtings, and architraves, ensuring that the historical essence of the building was maintained. Mike Fisher and Nathalie Hirst collaborated with interior designer Dominique Bonino for the decor. Bonino focused on curating Hirst's existing furniture and art pieces, blending them with new selections to achieve a timeless, transitional style. The chosen color palette for the interior was fresh and light, reflecting the Georgian period, with accents of yellow, green, blue, and ochre introduced through furniture and soft furnishings. The objective was to create an inviting and cozy environment that was functional for daily living, allowing Nathalie's heirloom pieces to shine while complementing them with carefully chosen contemporary elements. The design philosophy emphasized mixing modern and traditional pieces to create a balanced, enduring aesthetic, avoiding overly dark colors to maintain an airy feel while incorporating rich fabrics and exquisite patterns to add character without appearing bland. #GeorgianTownhouse #HomeRestoration #TransitionalStyle #InteriorDesign #LondonProperty #HistoricRenovation #SpaceOptimization #PeriodFeatures #ColorPalette

This article details the six-year renovation of an 18th-century, Grade-II listed Georgian cottage in a historic village in the UK's South Downs National Park by its owners, Matt and Holly Clements. The renovation aimed to restore the property sensitively, uncovering and preserving its original features while adapting it for modern family life. The exterior restoration began with the removal of damaging pebbledashed cement render, replaced with a breathable limewash color-matched to original fragments. Georgian sash windows were also restored off-site and fitted with hand-blown glass. Inside, the kitchen, though due for a full replacement, was refreshed with Atelier Ellis' 'Quiet Grey' paint. The space is characterized by unfitted elements, vintage accessories, and an heirloom farmhouse table and chairs. Devol handles and a brass hanging rail were added to existing cabinets, complementing a soft white Everhot range cooker. In the living room, the painstaking process continued as internal cement render around the bay window was removed, revealing original lime plaster. This multi-functional space, the primary gathering area outside the kitchen, was furnished with neutral colors, vintage leather armchairs from Vinterior, an antique Indian cot serving as a coffee table, and a high-street jute rug, creating a calm and inviting atmosphere. The main bedroom offered significant discoveries. A false ceiling concealed original beams, which were found wrapped in crumbling insulation and required extensive work. Beneath layers of plasterboard, a Georgian fireplace was uncovered and gently repaired. The original wide plank floorboards, crudely altered for modern utilities, were carefully cleaned and restored with wire wool and white spirit. To respect the cottage's history, the fireplace wall's original brick was exposed, while other walls received a lime render. A hand block-printed floral wallpaper, 'Garland by Flora Roberts' for Hamilton Weston, was chosen for the bedhead wall, inspired by a 1700s fragment, with Earthborn’s St John clay paint on the remaining walls, blending historical accuracy with contemporary design. The bathroom combines original features like exposed ceiling beams with modern comforts, including a marble-look walk-in shower. The wooden floor was repurposed from a 400-year-old barn, and the plasterboard ceiling was removed to reveal characterful original beams. Holly incorporated vintage accessories such as a Georgian tilt-top table, a French mid-century painting, and antique Hungarian pieces to soften the space without creating a pastiche. The children's rooms are thoughtfully curated with vintage treasures and adaptable designs, reflecting the family's approach to the entire home. The children actively participated in painting and cleaning. A peg rail in one room displays an antique mirror and chair, with walls and paneling painted in Atelier Ellis' 'Stony Ground'. Finally, the backyard features a secluded seating area excavated from a large cement and chalk lump, providing an alfresco dining space with an antique Hungarian trestle table and a window-frame mirror from an antiques fair. The entire renovation underscores a deep respect for the cottage's history, combining meticulous restoration with personal touches and vintage finds to create a cohesive and charming family home. #CottageRenovation #GeorgianArchitecture #HistoricHome #InteriorDesign #VintageDecor #SustainableRenovation #FamilyHome #ArchitecturalRestoration #HomeStyling

Harriet's House, an addition to a Georgian cottage in Launceston, Tasmania, is the result of a six-year collaboration between design historian Harriet Edquist and SO: Architecture, led by Liz Walsh and Alex Nielsen. The project involved distilling a complex brief into a single vaulted room with integrated services, creating a surprising and joyful space within a modest heritage-listed cottage. The original cottage, built in the 1830s, features a basalt plinth and a single-story brick structure with a hipped roof. Historically, there's evidence of a kiln on site, suggesting the building materials were locally sourced. Its design, while simple, subtly references Regency architecture through expressed piers and recessed panels. The new addition respects the cottage's original form, reinstating the integrity of its four rooms by decommissioning a later doorway. A rear service wing, previously altered in the 1980s, was removed, preserving only its Victorian-era brick fireplace, which is now integrated into the new design. A new plinth, extending from the cottage's rear, uses local red bricks to form a base for the new light-colored brick shell, mirroring the original light-over-dark masonry pattern. The new form exhibits an austerity consistent with the existing structure, softened by intricate brickwork details such as header courses, corbelled openings, and subtle variations in brick color and tone due to the limited space for brick storage during construction. These variations, a result of having only one pallet of bricks on site at a time, narrate the construction process and the material's origin. The exterior of the addition is characterized by its simple geometry, concealed roof lights, and a single strategically placed window, maintaining privacy. Internally, a deep, timber-lined vault is revealed. The design draws inspiration from Sir John Soane, a Regency-era architect known for his vaults and mastery of natural light. Unlike Soane's shallow saucer domes, Harriet's House features a fully-fledged hemispherical vault, which appears suspended due to natural light washing down from above. This vaulted space provides a sense of openness, contrasting with the more compressed rooms of the original cottage. The multi-layered space beneath the vault serves for both living and working. It incorporates a kitchen along one edge and shelving for personal objects along another. The design allows for flexible furniture arrangement, accommodating favorite pieces around the reclaimed fireplace or in the morning sun. This interior space extends to a small courtyard, enclosed by a steep embankment of endemic Tasmanian plants, designed by landscape architect Miriam Shevland of Playstreet. The project masterfully balances old and new, and inside and outside, reflecting the collaborative discussions between the client and architects. Adolf Loos's modernist principles, known to Harriet through her work on Viennese modernism, also seem to influence the building's making and its interior. The exterior’s spareness complements intimate interiors that modulate volume, light, materials, and crafted fixtures. The project, Harriet’s House, stands as an exceptional accomplishment, showcasing the architects' skill in navigating historical contexts and contemporary design. Key products and materials used include Lysaght Custom Orb roofing, Austral Access and Yarra bricks, Johnson Tiles Spectrum tiles, Artedomus Yohen Border tiles, Knauf plasterboard, Gubi Semi 400-mm pendant lighting, Fisher and Paykel appliances, Streamline tapware, and Devi electric underfloor heating. The project team included Liz Walsh and Alex Nielsen of SO: Architecture, with Anstie Constructions as the builder, Aldanmark Consulting Engineers, Jonathan Hearn Landscape Design and Construction, Playstreet, and Green Building Surveying. The house is built on the land of the Stoney Creek nation. #ResidentialArchitecture #GeorgianCottage #ArchitecturalRenovation #VaultedCeiling #HeritageBuilding #TasmanianDesign #BrickworkDetail #SustainableDesign #InteriorDesign

The Bandy House and Studio, a project initiated in 1974 by architect Col Bandy for himself and his wife Joy in suburban Melbourne, epitomizes Bandy's distinctive 'bush expression' and innovative approach to spatial design. The house, notable for its unfinished state at the time of Bandy's passing in 2009, reflects the extensive time and personal involvement Bandy dedicated to its construction, as he reportedly placed every brick and nail himself. This self-built nature allowed for a unique architectural experiment, a common theme in architects' own homes, enabling them to test ideas and undertake risks that might be impractical for clients. The design of the Bandy House is characterized by its detailed and complex spatial arrangements, despite Joy's description of it as "pretty simple." Bandy's design process was rapid, with the initial concept and a beer-box model created within hours of purchasing the property. The house features numerous nooks and crannies, resulting from its angled geometry, sloping ceilings, and split levels, including a sunken living room. An earlier design included a cantilevered bed in the mezzanine, hovering over the studio space, though this feature was ultimately not implemented. However, the angled timber beams supporting the mezzanine still frame the bed, suggesting a careful negotiation of space. This experimental approach to cantilevering was later realized in a built-in seat in the Lenartowicz house. The final constructed version of the Bandy House exhibits even greater complexity than its original drawings, such as the roof canopy above the front door, which reveals the structure more seductively by cutting the tiling at a forty-five-degree chamfer angle. The house's architectural style, rooted in the 1970s, incorporates exposed concrete blocks and raw timber, linking it to New Brutalism. This, combined with the prevalent use of forty-five-degree angles, aligns it with a local architectural phenomenon often associated with architects like Kevin Borland. Borland's work of the early 1970s, described by Ian McDougall as embodying "anti-formalism, naive lumping of lean-to shapes, bush carpentry and natural timber walls," significantly influenced Melbourne architects, establishing a 'chamfer style' and 'bush romance.' This represented a departure from the earlier modernist steel-and-glass aesthetics, favoring natural materials, indigenous plants, and raw detailing, which resonated with a contemporary Australian cultural identity, even in suburban settings like Albert Park. The construction of the house was a two-stage process. The existing house remained on-site while the first half of the new house was built adjacent to it, after which the old structure was demolished. Bandy's resourcefulness was evident in using the couple's Toyota 4x4 as scaffolding. The house was designed with a solar-boosted gas hydronic heating system, advanced for its time in 1974, though the solar components were never fully connected. This system included copper pipework in the ground floor slab and pipes under a north-facing glass panel on the roof, intended to circulate solar-heated water. Additionally, this water was meant to flow over the copper fireplace surround to augment heating during winter, creating a sculptural aesthetic that Joy admired. The absence of traditional guttering and plumbing on the roof meant rainwater was collected in buckets for garden irrigation. The temporary kitchen remained in use for over three decades, completed only after Bandy's death. Bandy, who opened his own practice in 1976, became known for his residential projects, demonstrating ingenuity with small spaces and novel structural systems. He also designed and built furniture, showcasing his hands-on approach. Despite not completing his architecture degree, he was highly respected in the profession, eventually registering as an architect and being approached for master's studies. He passed away in 2009, leaving behind a legacy that, while not widely published, was significant within the architectural community. His book, "Col Bandy Architecture: A Few Good Projects," offers a glimpse into his work. Joy describes the house as an "unfinished symphony," an ever-evolving project, with her continued efforts to complete elements like tiling the bath, still finding packets of cedar lining left by Col. The article is part of the Houses magazine Revisited series, highlighting a residential project that embodies a unique architectural philosophy and a personal journey of creation. #ArchitecturalDesign #ResidentialArchitecture #SelfBuiltHome #MelbourneArchitecture #BushExpression #ChamferStyle #ExperimentalDesign #ColBandy #SustainableDesign

The Craftsman style home, a favorite among Country Living enthusiasts, emerged as a direct counterpoint to the elaborate and mass-produced Victorian and Art Nouveau styles prevalent at the turn of the 20th century. Historic preservationist Elizabeth Finkelstein notes that Craftsman homes prioritize intentional, handcrafted design and a strong connection to nature. This aesthetic, rooted in the Arts & Crafts Movement, emphasizes clean lines, natural materials, and hand construction. The movement arose from a frustration with the perceived low quality of factory-produced items during the Industrial Revolution. While Wisconsin-born furniture designer Gustav Stickley is often credited with popularizing the Craftsman name through his magazine, 'The Craftsman,' the architectural style itself gained traction on the West Coast. Architects Charles Sumner Greene and Henry Mather Greene, practicing in Pasadena from 1893 to 1914, were key figures in its development. Their iconic 1908 Gamble House stands as a prominent example, but it was their more modest single-family bungalows that inspired the widespread Craftsman house plans of the 1920s. Craftsman homes are typically characterized by their horizontal orientation, low-pitched gable roofs, and minimal ornamentation, contrasting sharply with the verticality of Victorians or the elaborate accents of Tudors. A defining feature is the spacious front porch, often supported by thick, tapering beams that may rest on brick or stone columns extending to the house's foundation. Other exterior elements commonly include overhanging roof eaves with exposed brackets or rafter tails, earth-toned paint colors (such as sage green, dusty brown, and golden yellow), large bay or picture windows, and a humble one to one-and-a-half-story frame, though larger variations exist. Exteriors are often finished with clapboard, stucco, or shingles, with brick being a common material in the Midwest. Inside, Craftsman homes offer cozy, distinct rooms rather than open floor plans, aiming to integrate the outdoors. Key interior features include lower slung coffered ceilings, thick, unpainted wood trim around doors and windows, and built-in elements like cabinets, bookshelves, and window seats. A focal fireplace, often adorned with decorative clay tiles, is a common centerpiece in the living or dining room. It's important to distinguish that 'Craftsman' refers to an architectural style, while 'bungalow' denotes a type of small house. Thus, a Craftsman bungalow is a specific subtype, but not all Craftsman homes are bungalows, and not all bungalows are Craftsman style. The term 'Craftsman' is capitalized when referring to the architectural style to honor the skilled labor involved in its construction. #CraftsmanStyleHomes #HomeDesign #ArtsAndCraftsMovement #ArchitecturalHistory #InteriorDesign #GustavStickley #GambleHouse #Bungalow #HomeDecor #HistoricPreservation

This article details the comprehensive renovation of a Grade-II listed Georgian townhouse in Bath, transformed by homeowners Paul and Kate Austin. The property, initially purchased by Paul in 1989, was in a dilapidated state, described as a "real mess" with a soil pipe running through its center and an unsightly 1960s lean-to. Despite its condition, Paul immediately recognized its potential, and the sale was finalized within six weeks. The renovation project was extensive and challenging, especially given the property's location within a World Heritage Site, which necessitated consent for almost all modifications. Key initial steps included relocating the central soil pipe to the back of the house. In the early 1990s, Paul and Kate leveraged grants from Bath Council and the Bath Preservation Trust to replace the original Georgian sash windows and the fanlight above the front door, meticulously restoring these architectural elements. The unique white band framing the arched doorway, a characteristic found on specific Georgian streets in the UK, was also preserved. Inside, the renovation addressed significant structural and aesthetic issues. The entire ground floor was re-laid with cast-concrete tiles designed to mimic traditional flagstones, replacing the original smashed tiles. Every wall was stripped back to the bare stone and brick to install a proper damp-proof course, a crucial measure given Bath stone's tendency to retain moisture. The unappealing lean-to and outdoor toilet were demolished, and the garden underwent professional landscaping to enhance its appeal. The kitchen and dining areas were significantly reconfigured to create a more open and functional living space. A wall separating the kitchen and dining room was removed, and Kate installed a handmade kitchen from Plain English, painted in Little Greene's Lead. The kitchen features an array of collected items and small toys, grouped and re-arranged over time, reflecting Kate's passion for layering and collecting. Notably, the tiles around the Aga were designed by artist Lubna Chowdhary. During the kitchen rebuild, a hidden Georgian fireplace surround was uncovered behind 1970s cupboards, which now houses the Aga. An original Welsh dresser was also discovered and restored, adding to the room's character. In the dining room, the back wall was replaced with handmade French doors, maximizing natural light and creating a seamless connection to the garden. The dining area is furnished with a table sourced from a Norfolk farm sale and 1960s lamp shades from Two Columbia Road. Artistic elements include a contemporary resin painting from Edgar Modern art gallery and a mosaic handcrafted by Kate in the fireplace. An antique armchair, reupholstered in Romo's Odin Mercury design, and a 1940s sideboard inherited from Kate’s grandmother, further personalize the space. Despite the initial disrepair, many original period features, such as Georgian fireplaces, internal doors, and ceiling mouldings, remained intact. The sitting room ceiling, however, required repair after a flood. The living rooms showcase a blend of contemporary furniture and antiques, including fringe lamps and a corner cocktail cabinet from Kate's grandmother. Kate's eclectic taste is evident in her collections, which include dolls’ heads, stuffed animals, and motifs of numbers, letters, spots, and stars. The second living room features walls painted in Zoffany's Dusk, a Robert Rauschenberg print, a grey sofa from B&B Italia, and a vibrant print from Nelly Duff. Lighting by Artemide and a vintage Dansette record player complete the look. The bedrooms reflect a continued commitment to unique design and comfort. The master bedroom features contemporary artwork from the Edgar Modern Gallery, bedding from Zara Home and Anthropologie, and cushions from Heal's. The wallpaper, Salcey from Osborne & Little, contributes to a sophisticated ambiance. Daughter Zillah’s room exudes a playful "circus feel" with a yellow armchair from B&B Italia, a Feather & Black bed, Urban Outfitters bedding, and a pillowcase handmade by Kate’s grandmother. Curtains from Rossiters of Bath, a Fired Earth bedside lamp, and a custom-made wooden wall cabinet by Fiona Clark at Spacehub further enhance the room's vintage charm. Nina Campbell's Perroquet wallpaper and a cheerful Habitat rug add to the whimsical atmosphere. Kate Austin, a former visual artist, curated the interior design, infusing the home with her distinctive style. The townhouse serves as a "visual diary" of Paul and Kate's life, incorporating their travels, family heritage, modern art, and experimental use of color and form, all while respecting the historical elegance of the Georgian architecture. #GeorgianTownhouse #HomeRenovation #InteriorDesign #BathEngland #PeriodFeatures #EclecticStyle #KitchenDesign #VintageFurniture #ArtCollection

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

This article details a personal account of a home renovation project, challenging the common perception that renovations are inherently stressful or nightmarish experiences. The author, Alice Stolz, National Managing Editor of Domain and a property expert, recounts her first renovation experience, emphasizing that despite a relatively tight budget and challenging circumstances, she found the process enjoyable and transformative. The initial objective for the renovation was to create a liveable and functional home within the established budget. The planning phase involved extensive discussion and iteration between the author and her husband, a process that, while initially frustrating, ultimately led to compromise and adherence to financial constraints. This period of intense planning and decision-making is presented as a crucial part of the overall positive experience, fostering personal growth and discipline. The renovation proceeded under difficult conditions, including lockdown restrictions and the inherent challenges of updating an old, compromised house. Despite these obstacles, the author expresses a deep appreciation for the demolition and construction phases, finding satisfaction in the physical transformation of the space and the strategic decisions involved in allocating resources—prioritizing essential elements like the kitchen benchtop and quality joinery, and economizing elsewhere. The project became a mental escape during a restrictive period, providing a sense of progress and purpose. A significant aspect of the positive experience was the collaboration with skilled professionals, including an incredible builder and interior design studio. The author highlights her admiration for their ability to envision and create spaces, likening them to magicians. The dedication and craftsmanship of individual tradespeople, such as meticulous tilers, patient painters, and precise joiners, are specifically praised, contributing to the overall satisfaction with the project. Ultimately, the renovation resulted in a home that, while not perfectly flawless with its existing structural quirks, is cherished for its character and history. The article concludes by advocating for embracing these imperfections, contrasting them with a prevalent desire for absolute perfection. The renovation transformed not just the physical space but also the author's perspective, fostering an appreciation for the journey and the unique qualities that make a house a home. #HomeRenovation #InteriorDesign #BudgetRenovation #PropertyDevelopment #HomeImprovement #PersonalExperience #BuildingProcess #DesignChallenges #SkilledTrades

The Oribin House and Studio, designed and built by architect Edwin (Eddie) Oribin between 1956 and 1958 in Cairns, Australia, is a significant architectural work that blends innovative design with practical considerations for tropical living. This house, the first Oribin built for his family, was heavily influenced by Frank Lloyd Wright's architectural philosophy and showcases Oribin's resourcefulness, energy, and creativity. Oribin, a multi-talented individual, not only designed numerous distinctive houses but also engaged in aeroplane restoration, flying instruction, jazz, and tent design. Upon its acquisition in 2006 by Joseph and Susi Jacobs, the house had undergone various alterations by previous owners, leading to the concealment of many original design elements. The Jacobs embarked on a meticulous restoration process, akin to an archaeological excavation, to strip away later additions and reinstate the house's original 1950s aesthetic. This careful restoration, driven by an appreciation for mid-century design, has resulted in a resurgence of interest in the property, attracting numerous architects, designers, and enthusiasts to appreciate its unique qualities. The house is notable for its geometric room layouts and patterns, precise detailing, and thoughtful integration of materials. Its design features handmade light fittings, finely tinted concrete, and the lustrous finish of clear-stained silky oak timber, contributing to a finely crafted yet robust structure ideal for the tropical climate. The house incorporates innovative construction techniques and climatic design features that enhance its livability and historical significance. In 2009, Edge Architecture was commissioned to extend the house, adding new sleeping spaces. The original property included an architectural studio connected to the main house by a bridge spanning a rainforest gully. However, due to subdivision in the 1970s and 1990s, the studio became a separate residence. The recent additions respect Oribin’s original design intent by incorporating geometric forms and complementary timber finishes, extending from the original house at an angle. These new rooms form a courtyard on the northern side, providing the main bedroom with views of the rainforest gully. The original bedrooms have been repurposed into reading, library, play, and craft rooms, accommodating the Jacobs' art collection and providing spaces for their children. The house's unusual lot orientation, with its long side facing the street and a creek constraining the western boundary, influenced its design. This results in a long, ship-like timber entry wall on the east, shielding the house from the street, and expansive patio and pergola areas to the north and west. The narrow width of the house facilitates excellent cross-ventilation. The flooring, a cool, polished, and tinted concrete slab inlaid with timber strips forming a large diamond pattern, serves as the structural basis for the house's plan. This slab is constructed from concrete poured over reinforcing wire, chicken wire, and blue gravel. The absence of 90-degree angles in the house's plan, which is based on an equilateral grid system and triangular volumes, creates visually engaging and varied spaces. An ingenious tropical ventilation system is integrated into the design. Wall partitions in the original children’s bedrooms are raised 300 millimeters above the floor to facilitate natural ventilation and suction. A low timber garden wall and flanking stone culvert along the long windward side of the house, facing the street, feature a screened gap at floor level. These elements compress fast-moving air along the side of the house, drawing air from the western, open side of the dwelling, through the house, and out of the floor-level opening on the street side, minimizing the need for active cooling. Natural light is skillfully controlled, with a strip of light entering through handmade diffusers at eave level on the eastern side. Many walls are not full height, allowing light to traverse the entire width of the house. Pergolas, shutters, and wide eaves filter western and southern light. The western side of the house, facing the gully, emphasizes the rainforest views. The interior living/kitchen area features a high, raked ceiling, contrasting with the lower, more intimate ceilings in the bedrooms. The house's texture, light, shade, and finely crafted elements, along with the patina of its surfaces, timber, concrete, and diffused light, create a tranquil retreat from the tropical summer heat. The spatial and textural variety within the house continuously offers new experiences, making it a remarkable and enduring architectural achievement that won the 2013 Queensland Enduring Architecture Award. #ArchitecturalDesign #MidCenturyModern #TropicalArchitecture #HistoricPreservation #SustainableDesign #FrankLloydWrightInfluence #CairnsArchitecture #EdwinOribin #ResidentialArchitecture

Architect James Davies, founder of Paper House Project, undertook an ambitious endeavor to convert a derelict former schoolhouse in Hackney, London, into his personal two-bedroom residence. This challenging project, completed by October 2022, transformed a dilapidated brick structure into a high-ceilinged, concrete-floored home, showcasing Davies' vision and determination. The site presented significant hurdles, including being landlocked, lacking existing utility services, and navigating complex access negotiations with surrounding freeholders and leaseholders. Davies described these issues as challenges rather than obstacles, requiring immense patience and unwavering confidence to resolve, including extending new electric and water connections via a 90-meter trench across third-party land. Davies' architectural approach focused on restoring the original brick envelope of the building while implementing a modern interior design. He collaborated with engineers to minimize visible structural elements, thereby maximizing the double-height spaces and enhancing the sense of openness. A key design feature is the incorporation of new gridded steel-frame windows and an inner courtyard, which together flood the interiors with natural light and create a unique sense of volume, uncommon in typical London homes. Davies noted that the abundant natural light, height, and volume significantly contribute to mood and well-being, emphasizing the peaceful and tranquil atmosphere of the internal courtyard, which helps to create a serene environment despite the property's proximity to busy Hackney high streets. The interior aesthetic draws inspiration from industrial and warehouse conversions, influenced by notable structures such as the Turbine Hall at Tate Modern, Liverpool's Albert Docks, and the warehouse living styles prevalent in New York City. Davies consciously selected a limited palette of materials, predominantly concrete and steel surfaces, to achieve a smooth, stylized industrial look throughout the home. This choice of materials, combined with elements like a black marble splash-back, oak veneer door fronts, and a spruce-paneled staircase, introduces contrasting materialities that add depth and character to the design. Practical solutions were devised to overcome site access limitations, such as fabricating large components off-site and ensuring they were light enough to be manually carried through the courtyard by two people. Steel A-frame trusses with cable rod connections were ingeniously embedded to support the new slate roof, demonstrating innovative structural solutions. The downstairs living spaces are subtly divided by the staircase, maintaining an open feel while delineating functional areas. Wooden interior panels are strategically used to soften the white walls, adding warmth to the industrial aesthetic. Davies encapsulated the essence of the house's ambiance with a single word: 'calm', reflecting the successful creation of a tranquil urban dwelling from a complex, derelict site. #Architecture #ResidentialDesign #LondonRealEstate #HackneyHome #ConversionProject #IndustrialAesthetic #PaperHouseProject #ArchitecturalRenovation

The article details the transformation of a three-story, five-bedroom Georgian house in Devon, England, into a joyful and colorful summer retreat for a family of five. British designer Nicola Harding, who previously worked on the family's London residence, was commissioned for the project. The family desired a home radiating "love and joy." Initially, structural modifications were necessary to integrate the original, intimate spaces of the house with a newer, open-plan addition. Harding collaborated with Patrick Kinmonth, International Editor at Large for *World of Interiors*, to incorporate a glass extension, linking the historical structure with a former stable block. This addition seamlessly connects the entry and kitchen, creating a cohesive living space. The entry area of the house features a rustic stone wall and a reclaimed wooden dresser, juxtaposed with a modern glass ceiling and a contemporary neon sign. Beyond the entrance, the expansive area is cleverly divided into distinct zones, including a kitchen, dining space, and lounge, which flow into a sun-drenched orangery. Harding's design philosophy emphasizes creating a lived-in feel, as if the house evolved over time with cherished pieces acquired through travel or from friends. This approach is also highlighted in her first monograph, *Homing Instinct*. The kitchen is painted in a dusty pink shade called Nicaragua by Edward Bulmer, with a striking oxblood-red archway. A large scrub pine table is paired with sky-blue French chairs featuring red accents, with reversed colorways used in the orangery for continuity. Velvet furniture in mustard and navy hues adds vibrant touches, balanced by an ashy gray reclaimed stone fireplace. Harding describes color as the "language of feeling within a space," and stresses the importance of contrast in bringing a room to life. The kitchen integrates appliances discreetly, with the sink housed in a vintage dresser and the refrigerator concealed behind antique cabinetry, giving it the ambiance of a cozy loft rather than a functional workspace, enhanced by large windows overlooking the countryside. The upper floor includes a vibrant boys' room adorned with clover-patterned wallpaper, striped aqua and brown headboards, and bright yellow nightstands. In contrast, the primary bedroom offers a serene and romantic atmosphere, featuring a four-poster bed draped in sheer fabric, soft pink walls mirroring the kitchen's palette, and bedside tables skirted in a chocolate-striped fabric, topped with antique lamps. A hand-dyed cotton dhurrie rug adds texture and a sense of history to the floor. The Devon retreat reflects the family's desire for a lighthearted, connected, and comfortable lifestyle, embodying Harding's aim to create a space filled with warmth and positive emotions. #InteriorDesign #GeorgianArchitecture #EnglishCountryside #HomeRenovation #ColorPalette #NicolaHarding #DesignPhilosophy #LuxuryHome #FamilyRetreat

The rehabilitation and modernization of an 1895 estate, shared by architect Chet Callahan and investor Jacinto Hernandez, along with their two sons, involved a detailed collaboration between Callahan’s team and interior designer Ghislaine Viñas. The objective was to convert the historically neglected property, which showcased a mix of stylistic influences including quasi-Craftsman and Spanish, into a vibrant family home. The structure had suffered from decades of disrepair, necessitating the use of historical photographs to accurately reconstruct its original architectural details. Key to the renovation was addressing the home’s awkward interior layouts. These were opened up to create more fluid spaces, and a significant glass-box addition was integrated into one side of the house. This addition was strategically designed to enhance natural light penetration, thereby counteracting the previously gloomy atmosphere of the residence. In addition to restoring historical elements, Callahan and Viñas introduced contemporary interventions, such as a spiral staircase, which itself received a Best of Year Award. Callahan articulated the design philosophy, stating that the aim was for the space to convey the impression of having been continuously inhabited and thoughtfully curated by a tasteful gentleman over its 125-year history. This involved accumulating artifacts and making expert additions over time. Viñas, aligning with this vision, employed a diverse array of furnishings and decorative elements, intentionally blending items from different eras and genres. She emphasized that the house is imbued with personal selections that narrate meaningful stories. An example includes custom-designed rugs, one of which draws inspiration from an Alexander Calder sculpture, reflecting a connection to Hernandez's workplace. Central to the home’s aesthetic is the homeowners’ extensive contemporary art collection, with Viñas also providing guidance on new acquisitions. The kitchen features a distinctive mixed-media installation by Brett Murray, which is described as expressing a core belief embraced by the couple within their newly reconceived living space. This transformation highlights a successful blend of historical respect and modern design, creating a unique and personalized environment. #ChetArchitecture #GhislaineVinas #HomeRenovation #InteriorDesign #HistoricBuilding #ContemporaryArt #SpiralStaircase #CustomRugs #FixerUpper

The article details the transformation of a 19th-century YWCA summer camp in Mill Valley, California, into a family home for Mark and Blythe Harris, a Manhattan couple. Initially hesitant about the property's dysfunctional state—a primary building on stilts connected by outdoor staircases to smaller structures on a steep slope—Mark Harris later had a change of heart, convinced they needed to purchase it despite their established life in New York City. The Harrises, both with jobs allowing remote work, were drawn to the rustic camp aesthetic, reminiscent of their childhood experiences. To undertake the extensive renovation, they enlisted architect Gil Schafer, known for his work on patrician estates, and interior designer Rita Konig. The couple sought Konig after admiring her ability to create characterful interiors, a challenge given they were starting from scratch with minimal possessions. The renovation itself was a three-year endeavor. Schafer faced the architectural challenge of increasing livable space without expanding the original footprint. This was achieved by excavating the slope and raising ceilings, effectively stretching the main house vertically and making every seemingly old element new. Mark Harris took a hands-on approach, meticulously overseeing details like irregularly spaced salvaged floorboards and sourcing vintage materials such as butcher block and handblown windowpanes. Konig's role involved curating objects that would infuse the home with character and warmth. Unlike clients who might prioritize larger elements, the Harrises appreciated her selections of unique, sometimes whimsical, details like a ship in a bottle or a stuffed seagull, understanding that these small touches contribute significantly to a home's story. The project evolved into a collaborative effort between Mark and Blythe, whose individual creative styles merged to form a cohesive "family style." Blythe noted her lawyer husband's unexpected design ideas, leading to a synergistic process. The finished home is presented as a testament to embracing serendipity and the profound impact a thoughtfully created space can have on a family's life. The article highlights the importance of allowing for unexpected elements in design and recognizing the value in transforming unconventional properties into cherished homes. The Harrises' journey illustrates how a historical, challenging property can be reimagined to meet contemporary family needs while preserving a sense of history and fostering a unique narrative through its design. #HomeRenovation #InteriorDesign #FamilyHome #NorthernCalifornia #HistoricPreservation #EclecticStyle #ArchitecturalTransformation #RitaKonig #GilSchafer

This Melbourne residence, owned by artist Kylie Thomas and her husband Tim Collier, underwent a significant transformation, evolving from a Federation home with a dated 1990s extension into a versatile space that functions both as a grand art gallery and a comfortable family sanctuary. When the couple acquired the property in 2015, they were drawn to its generous garden and the original Federation architecture, characterized by ornate timber detailing, bay windows, and a wraparound verandah. However, the existing open-plan addition from the 1990s presented challenges with poor flow, lack of zoning, and an awkward 45-degree angle that didn't integrate seamlessly with the older part of the house. The prevalent red timbers also contributed to an outdated aesthetic. Architect Chris Stanley of Splinter Society was tasked with a multi-faceted brief: to incorporate concrete's monumentality, which the owners appreciated, while maintaining sensitivity to the heritage home's elegant and flamboyant details. Additionally, a coastal feel, with weathered, driftwood tones, was desired to soften the concrete elements. The overarching goal was to harmoniously blend contrasting styles—old and new, grandeur and family warmth—and ensure a seamless connection with the extensive backyard. Stanley addressed the 1990s addition by replacing it with a new extension featuring a striking colonnade of windows framing the pool. These concrete columns visually echo the timber uprights of the Federation verandah, establishing a commonality between the heritage and modern sections. The colonnade extends throughout the new areas, mitigating sunlight and providing a monumental presence without being overwhelming. Infilled with banquettes and lit with spotlights, these spaces also serve as display areas for Kylie's art. A new entry on the south side now acts as a clear transition point between the old and new, creating distinct zones for family living. The original section of the house, previously a living room, has been reconfigured to house the children's bedrooms, each with an ensuite, emphasizing private spaces. The new open-plan extension, while maintaining connectivity, is effectively zoned by the columns, which function as nib walls, allowing family members to engage in different activities simultaneously. The material palette includes light-toned concrete, chosen to evoke a washed, coastal aesthetic, complemented by limed timber floors in the original section. The design prioritizes warmth through the strategic use of timber, curtains, and rugs, and incorporates judicious pops of color in furnishings, selected with the assistance of interior designer Danielle Balscheit. The kitchen, designed as a central gathering space, integrates the colonnade and concrete with metal-framed windows, a scalloped metal bench finish, and a soaring raked ceiling with a skylight, enhancing natural light. This area fosters a strong indoor-outdoor connection with views of the meadow, creating a feeling of spaciousness and height. The home also features practical considerations like heated concrete floors, providing comfort year-round. This thoughtful renovation has successfully transformed the property into a dynamic space that balances the homeowner's artistic inclinations with the needs of a modern family, bridging historical elegance with contemporary design. #HeritageHomeRenovation #ModernExtension #ArchitecturalTransformation #ConcreteDesign #ArtGalleryHome #FamilyLiving #CoastalInteriors #IndoorOutdoorFlow #FederationArchitecture

Jonathan Matti, an interior designer with an architectural background, has established himself over four decades as a leading figure in Manila's interior design scene. He is the founder and CEO of an eponymous interior design firm and is known for projects such as the Goldenberg Mansion's Glass House and the creative hub Vetted. Matti describes his design philosophy as an integration of "Old World elegance meets 21st-century living," aiming to create spaces that are rich and nuanced without feeling anachronistic or like a museum. Matti emphasizes the importance of client collaboration, stating that successful projects stem from clients who share his appreciation for graceful, modern interiors with a historical feel. He welcomes opinionated clients, viewing such exchanges as a healthy dialogue that enriches the design process. His approach resonated internationally, leading to a collaboration with British company de Gournay to create "Latina Manila," a wallpaper series inspired by Filipino culture and history. His architectural training enables him to bridge the gap between space design and interior design, effectively resolving incongruities between a structure's architecture and its interior furnishings. A notable highlight of Matti’s career involved designing "The Glass House" at the Goldenberg Mansion. Following an unexpected downpour during an event hosted by First Lady Liza Araneta-Marcos, Matti was tasked with creating a weather-proof indoor space. He conceived an air-conditioned annex of glass, steel, and wood, drawing inspiration from pre-Victorian era glasshouses. This structure was designed to blend with the gardens and allow natural light and views in, while providing a comfortable, semi-outdoor venue for events, complete with appropriate lighting. Matti's transition from aspiring architect to celebrated interior designer was influenced by his early exposure to diverse architectural styles through his mother, a real estate broker specializing in Makati villages. His first interior design project, which involved significant re-arrangement and minor construction, solidified his passion for interior design. This initial success led to numerous projects, eventually prompting him to focus solely on interior design. The creative hub Vetted emerged during the pandemic when Matti repurposed a rented storage space. Envisioned as a venue for pop-up events and creative gatherings, Vetted extends Matti's design philosophy, ensuring that all hosted events align with his aesthetic. Its inaugural event was an art exhibit by Elmer Borlongan. Despite initial challenges, Vetted has successfully hosted various events, including a pop-up store collaboration called “Garden of Earthly Delights.” Matti continues his collaboration with de Gournay, hinting at future home-related projects that will bear his signature elegance and meticulous vetting. #InteriorDesign #OldWorldElegance #JonathanMatti #ArchitecturalDesign #PhilippineDesign #DeGournay #GoldenbergMansion #VettedCreativeHub