A Look Inside the Stunning Transformation of a Historic Rectory

Róisín Lafferty, founder and creative director of Kingston Lafferty Design (KLD), spearheaded a nearly five-year restoration, renovation, and redecoration project to transform a landmarked Georgian-style schoolhouse in coastal Galway, Ireland, into a five-bedroom, four-bath residence. The initial structure, while charming and historic, presented several challenges, including outdated electrical systems, a lack of central air, and inadequate bathing facilities for a family of seven. Furthermore, a series of mismatched rear extensions and small service buildings obstructed garden views and natural light penetration into the interior. KLD collaborated with Helena McElmeel Architects, a local firm that assisted in navigating the municipality’s strict conservation board regulations and managed the structural modifications. Significant changes were concentrated at the rear of the property, where a new, window-wrapped, skylight-capped modern addition now houses an orangerie-style dining room, replacing a damp lean-to. This space is seamlessly connected to the updated kitchen. An existing conservatory was also enhanced with new glazing to create a breakfast room, accessed through portals in the kitchen's thick stone walls, which are clad with green marble tile to emphasize the transition between the old and new structures. The interior design philosophy prioritized repurposing and integrating existing elements with new, vintage, and custom pieces. For instance, an old kitchen table was reconfigured with a stone slab to serve as the cooking island, and pendant fixtures from the house's corridors were repurposed for lighting. Antique cabinets left by previous owners were skillfully integrated into new millwork, such as the main bathroom's armoire, which was transformed into a vanity with a marble countertop and antiqued brass legs. Mismatched Michael Thonet chairs, inherited from family, were grouped around a custom dark-stained oak dining table, contributing to a curated aesthetic. A particularly distinctive feature is the conversation pit in the rear lounge, recessed into the concrete floor to maintain garden sightlines. This element, along with a moss-green velvet Mah Jong sofa, evokes a 1970s sensibility. The original pass-through hatch between the kitchen and the reading room was reframed with bronze-tinted mirrored panels, adding a unique, moody atmosphere to the latter space. Although a beautifully hued stair runner was too worn to salvage, its color palette of sky blue, burgundy, terra-cotta, and mustard was incorporated throughout the home. Upstairs, the sleeping quarters blend traditional and modern design with whimsical touches. The main suite, occupying most of the second story, features a bedroom, a walk-in dressing room, and a bathroom with a fireplace and soaking tub. Period-appropriate paneling and a curvilinear velvet headboard were introduced to make the large main bedroom feel more intimate. The children's zone on the third floor was designed to maximize space; for example, a hanging rattan chair on the adjacent stair landing serves as a lounge area for the youngest daughter. The two boys' shared room benefits from high ceilings, allowing for tall loft beds that create ample floor space for hangout and work areas. This comprehensive renovation and redecoration effort successfully transformed a historic schoolhouse into a functional, aesthetically rich, and personalized family home. #KingstonLaffertyDesign #HistoricRenovation #SchoolhouseConversion #GalwayIreland #ResidentialDesign #InteriorTransformation #SustainableDesign #RepurposedFurniture #GeorgianArchitecture

In 1788, the Enlightenment society Felix Meritis, Latin for 'Happy Through Merit,' constructed its namesake clubhouse on an Amsterdam canal. The building, designed by Neoclassical architect Jacob Otten Husly, served as a hub for members to study various disciplines like music, natural sciences, drawing, commerce, and literature, embodying the rational principles of Enlightenment thought through its Corinthian-style facade and geometrically shaped rooms. A century later, after the society's dissolution, the building underwent several transformations, serving as a printing factory, the Dutch Communist party headquarters, and a 1960s cabaret, yet it remarkably maintained its architectural integrity despite wear and tear. In 2014, Amerborgh, an investment firm with a focus on the arts, acquired the landmarked Felix Meritis. The company aimed to repurpose it as a cultural center, leveraging its renovated spaces as event venues to support various programs. Tasked with revitalizing the 50,000-square-foot interior, i29, led by co-founder and partner Jeroen Dellensen, sought to bring the historic building 'into the now.' Their approach involved respecting the original architecture while infusing contemporary design elements to appeal to a younger demographic. This restoration project necessitated a careful balance between preserving historical aspects and introducing innovative designs. Working alongside MATH Architecten, which managed structural renovations, i29 co-founders Jeroen Dellensen and Jaspar Jansen focused on cultivating the individual character of each space. They found inspiration in the building's original use by the Felicians, who organized it by departments, allowing each room to retain its distinct function and story. The building's layout, divided by a five-story wooden staircase, comprises 11 staggered levels. A key requirement from the city was the meticulous restoration of two historically significant areas: the oval Concertzaal, renowned as one of Europe's premier small classical-music halls, and the Zuilenzaal, a colonnaded reception room. In the Concertzaal, where Beethoven's Ninth Symphony premiered in the Netherlands, a chromatic analysis revealed the original wall color between the pilasters was a brown-tinted beige, which was reinstated to restore the room's serene ambiance. To accommodate modern musical performances, i29 incorporated discreet, pivoting wall panels that optimize acoustics and conceal electronic equipment. MATH seamlessly integrated new mechanical systems within the existing structure, rendering them invisible in the auditorium. For the majestic Zuilenzaal, i29 opted for a more minimalist approach, stripping back boiserie and stabilizing cracked wood columns, leaving the room largely in its found state. This 'un-Photoshopped' authenticity required carefully dismantling and reassembling fragile woodwork to integrate modern ventilation and sound systems, making the Zuilenzaal a highly sought-after venue. i29 introduced significant visual diversity in the remaining rooms, utilizing color and texture as primary design tools. They incorporated crisply geometric, often mirrored, built-in cabinetry and furniture to create a striking contrast with the classical surroundings, thereby giving these spaces a unique identity and importance comparable to the historic rooms. The main entry is flanked by a reception area and Felix, a 100-seat restaurant. In the reception, custom tufted-shag wall coverings reproduce an 18th-century etching of a Felician meeting, offering a historical greeting to modern visitors. The restaurant's walls are adorned with woven textiles depicting Amsterdam's skies, immersing diners in a Dutch landscape. The Shaffyzaal, a domed, oval room above the Concertzaal, was once a physics lab and later a popular nightspot. Named after performer Ramses Shaffy, its acoustical perforated-steel panels feature an ombré effect, fading from deep to pale blue, evoking its psychedelic past. Jansen emphasizes that this contrast between contemporary and historical elements invigorates both. In the attic Koepelzaal, exposed timber roof beams lend a modern angularity. Dellensen highlights the firm's narrative approach, embedding stories within the design to add depth to the interiors. In the Teekenzaal, formerly the drawing studio, translucent fabric rectangles suspended from the ceiling diffuse light and symbolize the paper used by the Felicians, bringing the spirit of the Enlightenment to life. #InteriorDesign #ArchitecturalRenovation #HistoricalPreservation #AmsterdamLandmark #CulturalCenter #NeoclassicalArchitecture #i29Design #FelixMeritis #RestorationProject

Designer Rebecca Philipson undertook a significant remodel of a 1990s-built, 5,300-square-foot home in Aurora, Ohio, focusing on transforming the kitchen, great room, and lounge into more open and inviting spaces. The homeowners sought to infuse warmth and an open concept into their residence, a vision Philipson brought to life through a blend of traditional and rustic elements, with distinct French Country influences. Central to the design is the incorporation of Amish hand-hewn ceiling beams and elaborate stonework, which serve as prominent features, particularly in the lounge. This area, designed for relaxation and entertaining, includes a wet bar, a built-in refrigerator, and custom alder cabinetry. The adjacent sunroom houses a pool table, creating a seamless flow for social gatherings and post-dinner interactions. The overall layout was reimagined to foster a sense of togetherness, allowing family and guests to interact comfortably across the connected rooms. Philipson achieved this open concept by strategically removing the wall between the great room and kitchen, then linking the kitchen to the lounge. Archways were introduced to formalize these open transitions. The kitchen underwent the most substantial transformation. Previously walled off, it featured an angled peninsula, an irregularly shaped island, and low-hanging soffits. Philipson replaced these with faux beams to maintain the rustic aesthetic and installed a central island with seating for three. The homeowners' desire for warmth and intricate details was met through design elements such as decorative island legs. Attention to detail extends throughout the kitchen, with intricate touches found in the baseboards, legs, valances, and along the bottom of the island cabinetry. The refrigerator was artfully concealed with cabinet panels and mirrored glass, designed to resemble an armoire rather than an appliance, fulfilling the client's wish for cabinetry that emulated furniture. A built-in coffee maker contributed to a decluttered countertop space. The great room further showcases the sophisticated stonework, with cream-colored stone extending from floor to ceiling around the fireplace. This central feature is flanked by built-in cabinets that mirror the design of the kitchen's concealed refrigerator. Oversized iron hardware on the cabinetry adds a dramatic flair, complementing the multi-tiered iron chandelier, which serves as a focal point. Recessed lighting supplements the chandelier, with all lighting choices made to enhance the room's warm ambiance. The remodel successfully integrated rustic charm with French Country elegance, creating a cohesive and welcoming environment across the main living areas. #HomeRemodel #AuroraHome #FrenchCountryStyle #RusticDesign #KitchenRenovation #GreatRoomDesign #LoungeArea #InteriorDesign #OpenConcept

In the early 1930s, the École libre des sciences politiques, later known as Sciences Po, experienced significant overcrowding, with approximately 2,000 students attending in facilities originally designed for 350. The primary lecture hall, a source of pride from the 1890s, was no longer adequate for the large number of students attending popular lectures. This necessitated a major renovation project. In 1933, René Seydoux, the young registrar, successfully advocated for extensive renovations to the director, Eugène d’Eichthal. The construction of a new lecture hall wing began promptly, built over the garden at 29 rue Saint-Guillaume. This architectural endeavor was designed to optimize space, light, and ventilation. The new wing effectively addressed the overcrowding issue by incorporating two new lecture halls, seating 500 and 300 respectively, along with two large classrooms and a gymnasium. The existing library, housed in an adjacent wing, expanded by utilizing the space of the redundant former lecture hall. The new library section, despite being north-facing, was equipped with wide windows, providing natural light, a significant improvement over the old, windowless, gas-lit library. To prevent the new structure from overshadowing the garden, it was designed in a pyramid shape with setbacks on each floor, ensuring sunlight continued to reach the garden. Within the lecture hall, significant attention was given to climate control. Large blowers in the basement supplied ventilation through numerous Art Deco-grated air vents installed in the floor and along the walls. The hall featured a sloping floor and a mezzanine balcony, meticulously planned to offer unobstructed views for all students. Acoustic considerations led to the walls being covered with a rubber surface to enhance sound quality. For seating, the School collaborated with Jean Prouvé, whose workshops developed innovative two-seater desks. These desks featured oak seats and writing surfaces, connected by a central frame made of folded sheet metal, a signature material of Prouvé known for its ergonomic, economical, and solid qualities. The Boutmy lecture hall has largely retained its original design from the 1930s, with minor updates such as modern stage furniture to allow for a clearer rostrum, digital screens replacing the old blackboard, and safety upgrades to the balcony. The new wing's classrooms and lecture halls were named in tribute to the early directors and professors of the École libre. The main lecture hall was named in honor of Émile Boutmy, the institution's founding father, who established its intellectual vision and curriculum, managed fundraising, acquired properties, and protected the faculty from state nationalization. The second-floor lecture hall initially honored Anatole Leroy-Beaulieu for his expertise in Russian and Eastern affairs and his stance against prejudice. The third-floor classrooms were dedicated to diplomatic history professors Albert Sorel and Albert Vandal. The basement gym was named after René Seydoux, who was instrumental in its construction. In 1994, the second-floor lecture hall was renamed after director Jacques Chapsal, who reformed Sciences Po post-WWII, with Anatole Leroy Beaulieu's name joining Albert Sorel's above the third-floor classrooms, replacing Albert Vandal. Hermartin & C°, comprising Henri Martin and his son Hubert, were the architects responsible for the 1934 lecture hall wing, admired for their professional approach and ability to integrate modern architectural elements thoughtfully. They also designed the main hall, known as La Péniche, and unified the facade of buildings from 23 to 29 Rue Saint-Guillaume in 1952. Their contributions extended to the modern library building at 30 Rue Saint-Guillaume in 1963 and the 56, Saints-Pères building in 1979. During the May 1968 student protests, the Boutmy lecture hall was renamed "Che Guevara" and served as the central hub for general assemblies and student council meetings, embodying the students' demands for greater involvement in the school's governance. Throughout its history, the Boutmy lecture hall has hosted numerous prestigious figures, including Robert Badinter, Kofi Annan, Boutros Boutros-Ghali, Karl Lagerfeld, Dany Laferrière, Condoleezza Rice, Michel Serre, and Justin Trudeau, who have delivered major conferences, election speeches, and inaugural lectures. The stage also regularly showcases student talent through speech competitions, theatrical performances, and musical comedies, highlighting the hall's integral role in both academic and extracurricular life at Sciences Po. #SciencesPo #ÉmileBoutmyLectureHall #ArchitecturalRenovation #HigherEducationHistory #JeanProuvé #FrenchArchitecture #StudentLife #HistoricBuildings

The Kaufman House, a historical landmark in Zelienople, Pennsylvania, originally built in 1902, has undergone a significant restoration after being severely damaged by a fire in 2011. This 121-year-old building, which served as a hotel, factory worker housing, and an iconic tavern, was a vital rest stop for travelers and a community focal point. After the fire, the building remained closed until 2020, facing potential demolition. However, the Zelienople Borough recognized its cultural and economic importance, purchasing it in 2017 with a state Redevelopment Assistance Capital Grant to ensure its preservation. The restoration project aimed to maintain the building's original aesthetic, particularly concerning its windows. James Druschel, former vice president of finance and CFO of Veka, played a crucial role by initiating the project and facilitating the donation of window profiles from Veka Inc. Wincore Windows contributed by charging only for labor, glass, and hardware. The choice was made to use residential windows, specifically the 7700 Series from Veka, to replicate the original single-hung, wood windows. These included double-hung, fixed, and awning glass windows, with picture windows on the street level and double-hung windows on the upper floors. The 7700 Series is an LC-rated product, deemed suitable for the project. Technical specifications include white interior and exterior frames and low-e argon insulated glass with a 0.29 U-value, totaling 51 double-hungs, 30 fixed, and 3 awning windows. Beyond windows, the restoration also involved reinforcing the Main Street-facing balcony on the second floor with beams and updating it with VEKAdeck in Signature Storm color and white Veka rails, with the contractor receiving a reduced price for these materials. The rehabilitation proved more extensive than initially anticipated, as structural deficiencies were progressively discovered. Many previous repairs had overlooked structural integrity, leading to a situation where 60 percent of the building's structural integrity was found to be compromised and required replacement. The interior was gutted, re-walled, rewired, and re-plumbed, essentially rebuilt to meet modern codes. In its reimagined state, the Kaufman House now serves multiple purposes. The ground floor has been re-established as a restaurant, coffee shop, and bar. The second floor features a banquet hall, retail and office spaces, and meeting rooms. The third floor accommodates the regional office of a marketing firm. The basement is designed to host entrepreneurs offering complementary products to the restaurant. To ensure compliance with local codes, an elevator and a new stairwell were installed. Looking ahead, the building is also slated to function as a boutique hotel and a training facility for the tourism, culinary arts, and hospitality industries, further cementing its role as a revitalized community asset. #HistoricPreservation #BuildingRestoration #ArchitecturalDesign #WindowRenovation #KaufmanHouse #CommunityRevitalization #VekaWindows #WincoreWindows #ZelienoplePennsylvania

This article details the comprehensive renovation of a Methodist Chapel in the Cotswolds, originally built in 1790, transformed into a modern private residence by Last Interior Design. The project aimed to restore the building's historical integrity, which had been obscured by years of modern interventions and quick fixes, while simultaneously integrating contemporary design elements to suit 21st-century living. The design team, led by Rachele Bowley, approached the renovation by first stripping back the layers of paneling and modern additions to reveal the Georgian architecture's raw beauty. This initial step was crucial as many historical properties often receive sporadic modern fixes due to budget constraints, rather than integrated, sympathetic restorations. The core principle guiding the design was balance, ensuring the space functioned as a modern, livable home while respecting its original features as a place of worship. The designers sought to maintain the chapel's inherent sense of stillness and reverence, making it warm, functional, and personal. The inspiration for the design flowed directly from the building itself, with its original features informing nearly every decision. The chosen interior design concept emphasized light, neutral palettes, and natural materials like stone and smoked oak to create a calm and restorative atmosphere. Furniture selections included a mix of antique and modern pieces, further reinforcing the dialogue between different eras. A significant structural change involved reconfiguring two planned staircases, allowing for a larger, more practical boot room, utility space, and improved layout for one of the bedrooms and its en-suite. The new, dramatic sweeping staircase, with metal balustrades and oak treads, was designed to sit lightly within the space, offering a contemporary feel without competing with the historic fabric. Modern architectural details and furniture pieces were carefully chosen to contrast with and elevate the original features rather than imitate them. For instance, the minimalist four-poster bed is a modern interpretation of a classic design, fitting seamlessly into the aesthetic. In the kitchen and boot room, flat slab cabinetry with bronze handles provided a sleek, modern look that allowed the existing architectural features to remain the focal point. This Scandi-style approach offered a fresh alternative to the often-expected modern farmhouse aesthetic for such properties. The central vaulted living room, with its soaring ceiling, was made more approachable by adding a mezzanine level, creating a luxurious living area. The intricate stained-glass windows served as natural artwork, influencing the color palette of the textiles and furnishings, with blues, russets, and smoky ambers reflecting the window's hues. Even the rustic front door inspired the shape and texture of the coffee table, demonstrating the deep connection between the building and its new interior. The renovation faced several challenges, particularly compliance with modern fire safety regulations and spatial planning within the original chapel footprint. The collaborative efforts of Palmer + Partners and Barr Build were instrumental in addressing these issues, finding creative solutions to accommodate an open-plan layout, three en-suite bedrooms, and a separate utility room. The choice of natural materials like stone flooring and smoked oak engineered boards, along with lime plaster and breathable paint, ensured that the new elements would age gracefully and allow the original features, such as the windows and arches, to stand out. The project exemplifies a thoughtful integration of historical preservation and contemporary design, creating a nuanced and beautiful home in the Cotswolds. #ChapelRenovation #CotswoldsDesign #HistoricProperty #ModernInteriors #GeorgianArchitecture #InteriorDesign #LastInteriorDesign #SustainableDesign #LuxuryHomes

This article highlights 12 instances where historic church buildings have been thoughtfully converted into modern residences. The conversions prioritize preserving the original architectural elements, such as vaulted ceilings, tall windows, and stained glass, while integrating contemporary living spaces. Each project demonstrates a unique approach to adaptive reuse, transforming sacred structures into functional and aesthetically pleasing homes. One example features a couple near Amsterdam who converted the top of a former 19th-century Franciscan chapel into their home and studio. They maintained the large arched windows, which hint at the building's ecclesiastical past, and furnished the interior with eye-catching textiles and artworks against white walls. Another conversion in the English countryside involved a 19th-century Baptist chapel, which was transformed into a residential property with two connected parts: the grade II-listed chapel and an L-shaped meeting house surrounded by a private garden. In San Francisco, a 1915 Neoclassical structure that once served as the Second Church of Christ Scientist was redeveloped into four residential units known as 'The Light House.' These multilevel homes span over 5,300 square feet and retain original features like 30-foot cathedral ceilings, exposed brick, and stained glass windows, with a large great room accommodating various dining and seating arrangements. A more dramatic intervention occurred in Spain, where a 16th-century Basque church near Bilbao, abandoned since the 1970s and in severe disrepair, was revived over three years into a home. The project carefully restored the structure, including an 18th-century bell tower and sacristy, respecting its archaeological and historical value. Brooklyn showcases a conversion of the 1892 St. Mark’s Evangelical Lutheran Church and School into a four-building complex. The renovation emphasized maintaining original architecture, such as facades, archways, brick details, and windows, while connecting the school and church with an infill building. In Morimondo, Italy, a 17th-century church became a 4,843-square-foot residence, preserving its historic charm with brick arches and ceiling frescoes across three levels, highlighting internal heights and architectural finishes. Austin's Bouldin Creek neighborhood saw a 1939 Mission Revival-style church transformed by Rhode Partners into four two-story, loft-style homes, featuring 15-foot ceilings and historic details. These units, which quickly sold, ranged around 1,889 square feet. A Quebecois church was divided into a 2,500-square-foot home and a 1,500-square-foot office, garage, and workshop. The owners aimed to retain historic elements like the bell tower and organ while modernizing the interior to create a minimalist yet history-rich family home. In Los Angeles, a 1905 building with a history as a civil rights meeting place and progressive church was converted into 'The Ruby Street,' a nearly 6,000-square-foot live/work/event space. The designers recognized the building's 'good bones' and potential for a significant metamorphosis. A Greenwich, Connecticut church, decommissioned 30 years prior and haphazardly renovated, was thoughtfully updated, with architects focusing on allowing the iconic exterior to remain largely unchanged, preserving its 150-year-old character. Finally, a 1930s church in Melbourne, Australia, became the Hawthorn Residence. The renovation prioritized undoing previous dark and cramped alterations to bring in natural light and highlight original church features, a significant challenge due to heritage building restrictions. Another Australian example in Willunga, South Australia, features a tastefully renovated 1870 church, transformed into a family home with reverence for its historic elements. #ChurchConversion #AdaptiveReuse #HistoricPreservation #HomeRenovation #ArchitecturalDesign #ModernLiving #ResidentialArchitecture #InteriorDesign #RealEstate

This article details the comprehensive renovation of a 190-year-old Federal-style townhouse in Tribeca, Manhattan, which was originally constructed in 1828. The house, initially a residence for a genteel family, transformed into a poultry and egg shop during the area's wholesale produce market era, and later, after the market relocated, was one of nine homes granted individual landmark status by the Landmark Preservation Commission in the 1960s to prevent demolition. A previous owner, an artist, lived in the house for nearly 40 years before it was purchased by a new pair of artists who embarked on a significant remodel. The challenge for the new owners and their team, architect Susan Yun of Yun Architecture and interior designer Penelope August, was that while the exterior remained largely unchanged and landmarked, the interior had lost all original features. Their approach was not to recreate historical accuracy or adopt a modern interpretation, but rather to create a layered, evolving aesthetic that combined vintage and modern elements, reflecting the passage of time. This involved incorporating salvaged materials, antique finds, and contemporary designs to achieve a unique, lived-in feel. The exterior restoration was meticulous, focusing on preserving the landmarked facade. Energy-efficient wooden windows were installed to match the original design, and a new porch with ironwork railings was crafted, inspired by neighboring buildings but meeting modern code requirements. Inside, the design team established a historic-appearing background with elements like plaster crown molding, wide-plank salvaged wood floors from Reclamation Lumber, and newly designed handrails and balusters with classic lines. The owners actively participated in the sourcing process, finding doorknobs and some light fixtures on eBay, and purchasing antique and vintage sinks, bathtubs from Big Reuse, wallpaper from Secondhand Rose, and doors from Demolition Depot. Modern interventions include sleek limestone fireplace mantels (reactivating all four wood-burning fireplaces), a spacious kitchen with colorful terrazzo countertops by Precast Terrazzo, and a Jean Prouvé-inspired built-in designed by August. A key architectural modification involved relocating the first-floor staircase from the back to the center of the house, which facilitated the creation of a generously sized kitchen with an outdoor connection. The kitchen features purple-gray Shaker-style cabinets with glass pulls, a vibrant mustard-yellow Lacanche range, and custom terrazzo countertops made with recycled glass chips. Lighting fixtures were a mix of eBay finds and custom pieces by Penelope August and Andrew Hughes. In contrast to the modern kitchen, a study was designed to evoke a more traditional ambiance, featuring antique wallpaper, a wood mantel recreated after an unfortunate theft, and modern art and furniture to avoid a museum-like feel. The powder room exemplifies the eclectic approach with electric blue hex tiles by Fireclay Tile, a vintage pedestal sink from Demolition Depot, and unique sconces repurposed from an optometrist's shop. A midcentury-inspired shelving unit designed by August, with cork shelves and orange cabinet fronts, displays the owners’ diverse collections. Working with vintage and salvaged materials required considerable patience and effort due to necessary repairs and size adjustments, but the result was a highly customized and authentic interior. The owners expressed a deep appreciation for the history of New York City and viewed their role as caretakers of this historic property, embracing the restrictions that came with renovating a landmarked building. #TribecaTownhouse #HistoricRenovation #EclecticDesign #LandmarkPreservation #InteriorDesign #SalvagedMaterials #VintageFinds #ModernInterventions #NewYorkCityHistory

This article details the transformation of a formal center-hall Colonial home in Canton into a light, airy, and casual space, a challenge undertaken by mother-daughter interior designers Susan Hayward and Jillian Hayward Schaible. The clients, whose tastes lean traditional, sought a refreshed aesthetic for their long-standing residence. The renovation began in the kitchen, located at the back of the house, which was initially made brighter through the addition of skylights by the builder. The designers' role involved selecting fixtures and finishes to imbue warmth into the all-white kitchen the clients desired. To achieve this, the designers incorporated nickel gap and walnut beams to visually break up the extensive ceiling in the large, cabinetry-filled space. A warm white paint, Benjamin Moore Cotton Balls, served as a foundational creamy hue, complemented by oil-rubbed bronze accents and a hammered copper sink, with the bronze hardware's subtle gold undertones adding depth. A custom walnut top on the dining island introduced a rich contrast to the quartzite used on the perimeter and prep island. The connection between the kitchen and breakfast nook was enhanced by widening the opening, allowing more natural light to flood the spaces. Hayward noted that sunlight now streams directly into the nook, drawing attention to this area, which was further embellished with a textural wallpaper featuring oversized leaves. The breakfast nook also features a curved banquette, strategically implemented to maximize the natural light and views of the surrounding greenery. This design choice also resolved a furniture layout challenge, as the clients' original table and chairs did not fit centrally. Positioning them with a banquette in a corner created a cozy gathering spot. In the front of the house, an office, already featuring new, traditional walnut millwork, was transformed into a feminine retreat. The design process for this room started with selecting wallpaper, with the client being drawn to Lee Jofa panels by Aerin, which provided an old European, romantic garden feel. Complementary elements included a subdued neutral rug, a velvety blue chair, and a distressed iron chandelier adorned with glass crystals. A key objective for the designers was to ensure that the refreshed home did not appear to be recently redone. Schaible emphasized that the design aimed for an aesthetic where everything seemed to have always been in place, belonging naturally within the home's existing character. The article also provides resources for the interior design services and the carpenter involved in the project, along with a correction regarding the carpenter's phone number. #HomeMakeover #InteriorDesign #ColonialHome #KitchenRenovation #BreakfastNook #HomeOfficeDesign #TraditionalStyle #ResidentialDesign #CantonMassachusetts

The article details the transformation of a conservatory in a historic home by Design Alchemy, a design team comprising Deborah Costa and Kristine Renee. The conservatory, originally an addition from a previous renovation, suffered from an unattractive HVAC bump-out and a dated circular column that could not be removed. The designers aimed to create a sophisticated yet approachable space, focusing on integrating these less desirable features into the overall design while emphasizing a musical theme, complete with a piano. Key design interventions included concealing ductwork within a wall of cabinetry, which also provided additional storage and camouflaged an interior window. The problematic circular column was cleverly converted into a high-top bar, suitable for impromptu cocktail parties. This approach allowed the designers to make previous architectural limitations appear intentional and functional, contributing to the room's elegant and rhythmic flow. The overall aesthetic embraced impactful color choices to elevate the space. The conservatory features distinct areas, including a sitting area designed to maximize the panoramic garden views. This area is furnished with identical sofas from Lee Industries, creating a balanced and inviting atmosphere. The tented ceiling of the room was highlighted for its acoustic benefits, enhancing the musical theme. Remote-operated bulbs were utilized for lighting, addressing the lack of electrical hardwiring in the space. Another functional zone is the pantry, where floating shelves were installed to disguise existing interior windows, transforming them into purposeful design elements. The cabinetry, supplied by Trim Tech Designs with inserts from Architectural Grille, not only conceals ductwork but also offers storage for items like records and sheet music, and houses a Zephyr Beverage Cooler. A bar shelf further integrates the load-bearing column into the room's design. The dining booth, positioned in a corner of the conservatory, features a banquette by Lee Industries and a table by Serena & Lily, designed for more intimate conversations. This solution addressed the challenge of working with an irregular layout that lacked many straight walls. The article concludes by listing the specific brands and products used throughout the conservatory, including furniture from Lee Industries and Serena & Lily, rugs from Fibreworks, paints from Farrow & Ball, and lighting from Visual Comfort, providing a comprehensive overview of the design elements. #InteriorDesign #HomeRenovation #ConservatoryDesign #SpaceTransformation #DesignAlchemy #HomeDecor #LuxuryInteriors

Annie Brahler, owner of the award-winning design firm Euro Trash, initially dismissed her husband Charles Smith's idea of acquiring an English Gothic church at the intersection of Delmar and Union for their business. Brahler's firm, renowned for its design projects throughout St. Louis and nationally, had been operating its studio and corporate offices separately from its rented warehouses. These warehouses stored a vast inventory of art, antique furnishings, and other items imported from around the world. The logistical challenges and expenses associated with managing separate locations prompted Smith to seek a more integrated solution for their operations. Upon visiting the Westminster Presbyterian Church and its adjacent school building, Brahler quickly recognized the potential of the space. The church, which became available after its small congregation merged with another, offered a more functional layout than traditional warehouses. Brahler envisioned dedicated rooms for textiles, chairs, and paintings, realizing the existing architecture would streamline their inventory management and creative processes. Built in 1916 and completed in 1925, the Westminster Presbyterian Church was designed by Albert Groves and designated an official St. Louis City Landmark in 1975. Its sanctuary features significant stained-glass windows created by Marx and Jones. A crucial factor in Euro Trash's successful acquisition of the property was their commitment to preserving the building's historical integrity. Brahler emphasized their dedication to respecting the church's past as a religious home for decades, assuring former parishioners that no disrespectful alterations would be made. During meetings with the church's former members, some of whom had been part of the congregation since birth, Brahler and Smith conveyed their plans to maintain the building's original features, particularly the stained-glass windows. They proposed illuminating these windows from within and without, allowing them to be appreciated by the broader Delmar Maker’s District community. This approach aimed not only to preserve the landmark but also to showcase St. Louis's architectural heritage as something vibrant and well-maintained, rather than dilapidated. The former congregants responded positively to this vision, easing their concerns about the future of their beloved church. Euro Trash acquired the church in February 2024 and took occupancy in June of the same year. The building was found to be structurally sound, well-maintained, and compliant with current codes, including ADA accessibility. Brahler's approach to the space is one of repurposing rather than remodeling. She explicitly stated that no walls would be removed or spaces torn out. Instead, the firm is updating the interiors with fresh paint, new carpeting, furniture, and art, while retaining the original architectural elements. The former school building's large, open room, featuring expansive windows, crown molding, and an original brick fireplace, has been converted into a shared office space. Brahler noted that this communal arrangement reflects the team's collaborative working style, offering ample room for both group interaction and individual tasks. The church's sanctuary is currently used for storing larger items, such as imported French doors. Brahler envisions the sanctuary serving multiple creative functions in the future, including potentially as a gallery for sizable art installations by artists the firm collaborates with across the country. The fully intact and operational pipe organ in the sanctuary adds to its unique character. Brahler expressed her desire to use the transformed space to inspire others to rethink the potential of historic buildings. She highlighted the importance of preserving architectural heritage and demonstrating how such structures can be adaptively reused without compromising their original design. Unlike some conversions that extensively alter historical spaces, Euro Trash aims to accentuate and celebrate the existing architecture, contributing to the revitalization of the Delmar Maker's District while honoring the church's rich history. #InteriorDesign #HistoricPreservation #AdaptiveReuse #StLouisArchitecture #DelmarMakersDistrict #EuroTrash #CommunityEngagement #ArchitecturalHeritage #RepurposedSpaces

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 1927 Tudor-style house in Riverdale, New York, transforming its traditional interior into an avant-garde space. Purchased by Fritz and Lee Michel, the house initially featured a dated aesthetic with floral-print wallpaper and an abundance of brown tones. Designer Molly Luetkemeyer, founder of M. Design Interiors, spearheaded the project, drawing inspiration from the Wiener Werkstätte movement, contemporary to the house's original construction. This movement, known for its black and white geometric shapes and vibrant accents, became the guiding principle for the new interior. The renovation involved extensive structural changes to open up the cramped original layout. Thaddeus Briner of Architecture Outfit collaborated with Riccoboni Contracting to create a light-filled, open-plan living space. The entire renovation process spanned two years, allowing meticulous attention to detail, including a custom triangle-patterned carpet for the stairs, reminiscent of 1920s Viennese design. Each area of the house received a thoughtful modern update. The frequently used basement level, serving as the family’s primary entrance due to the house’s hillside location, was not overlooked. It was revitalized with a colorful paint scheme, bespoke cabinetry, and polished concrete floors. A central, open-concept kitchen was also integrated into the design. A key aspect of the project was the strong collaborative dynamic between the Michels and Luetkemeyer. Lee Michel contributed the idea for an Yves Klein blue dining-room table, while Fritz Michel sourced a unique chain-mail curtain to serve as a room divider from a Canadian armor maker. Even the couple's young daughters participated, requesting neon tubing, which Luetkemeyer translated into personalized nameplates above their beds. The most challenging design decision was the smoky-black color chosen for the living room, which required some persuasion but ultimately became one of the house’s most elegant and memorable features. The article highlights how the design team successfully merged the historical charm of the Tudor exterior with a bold, contemporary interior, creating a family-friendly home that is both personal and stylish, while subtly nodding to the architectural era's modern design movements. #DesignHunting #InteriorRenovation #TudorStyle #AvantGardeDesign #MollyLuetkemeyer #WienerWerkstätte #HomeDesign #RiverdaleRenovation #ModernInterior

The article showcases a top-floor condominium located within the former West Queen Anne Elementary School in Seattle, a building recognized on the National Register of Historic Places since 1975. This historic school, which closed in 1981, was subsequently converted into 49 residential units in 1984, serving as a significant example of preserving surplus educational buildings. The specific condo featured is on the top floor and includes a sunny deck integrated into the roofline, making it one of 12 such units in the building. It offers a bright and spacious living environment with high ceilings. The interior has been thoroughly updated to reflect contemporary design aesthetics, featuring a galley-style kitchen equipped with high-end appliances, quartz countertops, subway tiles, and European white oak floors. A notable design element in the living room includes wall panels that subtly reference the building's historical character. These panels also cleverly conceal a twin-size Murphy bed and an entertainment center, blending modern functionality with vintage charm. The design philosophy of the condo, as described by listing agent Susan Mudarri, successfully merges the best of both historical preservation and contemporary living. The large, loft-style bedroom is illuminated by a skylight and features modern cable railings and recessed lighting, contributing to a minimalist and airy atmosphere. The unit also includes an en suite bathroom, an additional half-bath downstairs, a stacked washer and dryer, and custom closet cabinetry, ensuring practical needs are met while maintaining a clean aesthetic. The location of the condominium offers convenient access to local amenities in the Queen Anne community, such as Molly Moon’s Homemade Ice Cream and Caffe Fiore, which are situated on the same street. The Queen Anne branch of the Seattle Public Library, also a National Register of Historic Places peer to the school, is just a block away. The neighborhood provides various recreational opportunities including pickleball courts, parks, and pizzerias, fostering a rich urban lifestyle. Historian Larry Kreisman noted that the successful conversion of the West Queen Anne Elementary School into residential units required a unique combination of factors. The community's efforts to save the building from demolition in the 1970s played a crucial role in its preservation and subsequent transformation. This communal spirit is noted to persist, with neighbors actively engaging in mutual support, such as watching packages and welcoming new residents. The article highlights that the building's historical integrity and its modern residential functionality are beautifully maintained. #PropertyWatch #QueenAnne #Condominiums #HistoricPreservation #ArchitecturalConversion #SeattleRealEstate #UrbanLiving #HomeDesign

The French Room at the Adolphus Hotel in Downtown Dallas has undergone a significant 16-month renovation, transforming its aesthetic from pastel cherubs and red velvet to brilliant white and expensive gold. This extensive facelift encompassed the restaurant’s three primary areas: the salon, the bar, and the dining room, each now boasting a contemporary and ornate appearance. Historically, The French Room maintained an elegant but somewhat dated charm, characterized by faded colors and pleated window curtains. The renovation aimed to bridge the gap between its traditional elegance and modern appeal, seeking to attract a broader clientele while retaining its prestigious identity. This required a substantial effort from the renovation team to update the decor without entirely discarding its foundational character. In the salon, the space largely retains its original architectural essence, featuring extensive carved dark wood trim and molding. The room is adorned with various artworks, and a single chandelier casts a soft, iridescent glow. Modular seating arrangements provide flexibility for accommodating different party sizes, ensuring comfort and adaptability. The bar area has also been updated, adopting a much dimmer lighting scheme that evokes the ambiance of a high-end speakeasy. It is distinguished by deep blue walls, classical paintings, and a brass ceiling. Silver trays filled with cocktail elixirs are meticulously arranged on a dark stone bar top, enhancing the sophisticated and intimate atmosphere. The dining room, often considered the heart of The French Room, maintains its original architectural framework but features extensive interior design changes. The former crushed red velvet chairs have been replaced with elegant Bergere dining chairs upholstered in pristine white fabric. Thick pleated tablecloths are set with pure white china plates, accompanied by a single glass and a gold candleholder. The previous artwork and wall coverings have been substituted with clean white and gilded flourishes. The heavily ornate molding and trim are now coated in semi-reflective gold paint, featuring classic French-style framing. Additionally, a few booth seats have been incorporated to offer guests more private dining options. Chef Michael Ehlert presides over the culinary offerings, presenting a refined take on French cuisine with dishes that blend traditional flavors with modern plating techniques. The menu, which is seasonal, includes items such as snails with pommes dauphine and watercress, seared foie gras, and consommé chartreuse. To conclude the dining experience, guests can select from The French Room’s traveling dessert cart, providing a sweet finish to their meal in this renowned Dallas establishment. #FrenchRoom #RestaurantRenovation #DallasDining #AdolphusHotel #LuxuryInteriors #FineDining #InteriorDesign #HotelRenovation #DallasRestaurants