Bandy House & Studio (1974) revisited

In Seattle's historic Wedgwood neighborhood, a 1970s home has undergone a significant transformation, blending its original architectural character with modern functionality to suit a young family's lifestyle. The project, named The Wedge(wood), was a collaborative effort between Best Practice Architecture and Ainslie-Davis, a contracting firm with a personal connection to the property, as the home was originally built by a family member. The renovation focused on creating open, adaptable spaces while retaining nostalgic elements. The kitchen, previously enclosed and outdated, was a primary focus of the redesign. It was opened up to seamlessly connect with the dining area, enhancing the flow of the main living spaces. A new wooden bench was integrated, serving as a transitional element between the kitchen and dining zones. A notable feature is the lowered leaf on the kitchen island, specifically designed to encourage children's participation in meal preparation, fostering a more inclusive and interactive family environment. Respect for the home's heritage was a guiding principle. Key original features, such as the sunken living room and its vintage wood-burning stove, were preserved and integrated into the new design. To improve the connection between the living room and the adjacent kitchen and dining areas, existing partial-height walls were replaced with custom wood shelving. This solution maintained an open feel and unobstructed views to the outdoors, while still subtly defining distinct areas within the open-plan layout. A significant structural modification involved converting a formerly covered porch into a functional mudroom. Given Seattle's climate, this addition proved highly practical, providing a cheerful and organized space for managing wet weather gear. The mudroom features patterned tiles and ample storage, adding valuable square footage and enhancing the home's overall utility. Upstairs, the renovation continued with the addition of a full bathroom, addressing the family's growing needs. An underutilized great room was reconfigured to create both a new bedroom and a playroom, catering to the younger members of the household. The primary suite also received a comprehensive update. The design maximized natural light by preserving existing clerestory windows and created an airy, spa-like atmosphere in the newly designed bathroom. The removal of the upper portion of a dividing wall in the primary suite established a visual connection to the surrounding trees and sky, contributing to a tranquil and expansive ambiance within the private quarters. The overall renovation successfully balances preserving the home's historical essence with contemporary design and functionality. #HomeRenovation #Architecture #InteriorDesign #ModernLiving #SeattleHomes #FamilyHome #SustainableDesign #MidCenturyModern #KitchenDesign

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 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

Mitch Margo, an attorney, acquired a 1961 residence in St. Louis, known as the Kaplan House, which was designed by William Bernoudy, a protégé of Frank Lloyd Wright. This acquisition marked Margo as the third owner of the architecturally significant Midcentury Modern home. His previous residences included a Victorian townhouse and a house in the historic Claverach Park neighborhood of Clayton, demonstrating a consistent preference for homes with architectural importance. Upon purchasing the Bernoudy home, Margo inherited not only the property but also its meticulously preserved blueprints and historical details from the second owners, who were keen Midcentury Modern enthusiasts. The house, while largely in excellent condition and reflecting Bernoudy's distinctive style, presented certain challenges, particularly in its kitchen and master bathroom, which were still in their original 1961 state and no longer met contemporary living standards. Margo collaborated with architect Helen Lee of TAO + LEE Associates to undertake the renovation of these key areas and to design a new swimming pool. The primary objective for the kitchen renovation was to modernize it for entertaining while maintaining the architectural integrity of the Bernoudy design. This involved a careful assessment of structural elements, such as a built-in bar between the kitchen and dining room, which was ultimately preserved due to its integral construction. The renovation of the kitchen focused on enhancing functionality and openness. The sink was relocated under a window to overlook the front yard, and a new center island was introduced to facilitate cooking and casual seating. The original pantry was removed to accommodate a larger refrigerator and double oven. The design team opted for an L-shaped kitchen layout to balance Margo's cooking needs with space for guests. Material choices, such as custom quartersawn red gum cabinets by Classic Woodwork, Ann Sacks white gloss tiles, and Cambria countertops in White Cliff, were selected to complement the home's original aesthetic, emphasizing white and wood tones and a minimalist, modern appearance. The vertical installation of the tiles subtly echoed a hexagonal clerestory window found in the living room. The living and dining room area, characterized by its soaring ceiling, a wall of windows offering views of the backyard, and built-in wood shelving, became Margo's favorite space. He curated this area with a blend of vintage Midcentury Modern furniture and new pieces, along with art, including signed Salvador Dalí lithographs. Notable furniture includes a Crate & Barrel sofa, reupholstered Adrian Pearsall chairs, a Paul McCobb travertine coffee table, and Wassily chairs by Marcel Breuer. The master bathroom also underwent significant changes. Originally dark and enclosed with a drop ceiling that concealed a skylight, the space was transformed. The renovation involved removing the bathtub to create a more spacious shower and a double vanity. Opening up the ceiling was crucial in restoring the room's sense of grandeur and allowing natural light from the skylight to flood the area. Wood salvaged from the original soffits was repurposed for new soffit lighting, further integrating modern amenities with the home's historic elements. Lee noted the pleasure of working on a Bernoudy house, highlighting the robust original structure and the opportunity to rejuvenate a modern design while making it relevant for contemporary living. #WilliamBernoudy #MidcenturyModern #HomeRenovation #ArchitecturalPreservation #KitchenDesign #BathroomRemodel #InteriorDesign #HistoricHomes #ModernUpdates

Joelle Bradley and Brad Anderson meticulously renovated their 1968 Burnaby home, transforming it from a 'time-capsule' with green carpeting and a sparkly popcorn ceiling into a modernized mid-century California rancher. The couple purchased the home in 2008, recognizing its strong architectural 'bones' and potential. Situated on an 8,000-square-foot terraced property overlooking Deer Lake Park, the 1,400-square-foot residence also featured a large, unfinished basement with high ceilings and a walkout to the backyard. Bradley, an enthusiast of mid-century modern architecture and collectibles, and an avid follower of retrorenovation.com, collaborated with architect Randy Bens and contractor Alan O’Rourke Construction. Their vision was to create a warm, period-appropriate modern aesthetic rather than a stark, minimalist contemporary design. A key consideration for the renovation, which was completed in stages over three years, was future accessibility; they planned for all essential living spaces to be on the main floor to accommodate potential health changes. The renovation began with the kitchen, which was redesigned as a galley kitchen featuring Nano glass doors that fold open to extend the living space onto the terrace, facilitating easy outdoor entertaining. The kitchen's design prominently incorporates avocado green quartz countertops from HanStone Quartz and cherry wood cabinetry, a nod to the color palettes of the late 1960s and 70s. The original linoleum flooring was replaced with Flexitec vinyl flooring that includes a subtle sparkle, echoing the mica glitter floors popular in the 60s. The open-concept living and dining areas received an environmentally friendly update with bamboo flooring laid diagonally. The original wood-burning fireplace was converted to gas, and natural light floods the space through multiple windows and a patio door leading to the upper deck. The master bedroom, located on the top floor, was transformed into a private sanctuary with bamboo flooring, vaulted ceilings, and an eggplant and buttercup yellow color scheme. The ensuite bathroom, originally a bedroom, was made wheelchair accessible, and a spacious dressing room with built-in storage was added. For their professional and personal pursuits, Bradley and Anderson developed home offices in the finished basement, which also serve as guest bedrooms. Anderson, a business instructor and science fiction writer, now has a dedicated space for writing his novel, 'Duataro,' while Bradley utilizes hers for sewing and gardening. The exterior of the home also underwent a significant renovation, with architect Randy Bens aiming for a long, low, and sleek modern look. This involved removing the gable roof above the carport and extending a new flat roofline. A trellis was incorporated over the kitchen’s terrace to diffuse light and define the outdoor space, while geometric concrete floral breeze blocks were used for partial privacy, a nod to 1960s decorative trends. A subtle ramp-like slope, instead of stairs, leads to the entry, reflecting the owners' forward-thinking approach to accessibility. The owners expressed their profound satisfaction with the renovation, intending to remain in their updated home indefinitely. Bradley also shared renovation advice, including starting early if moving out is necessary, using materials creatively for continuity and cost savings, finding reliable décor sources, and considering future needs during planning. #MidCenturyModern #HomeRenovation #BurnabyRealEstate #InteriorDesign #KitchenRemodel #AccessibilityDesign #SustainableMaterials #ExteriorRedesign #RetroInspired

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

Shelley Victory, a native New Yorker and fashion designer, undertook the extensive restoration of her 1890s Bed-Stuy limestone townhouse, a property characterized by its ornate plasterwork and original woodwork. Victory purchased the house in 2007, recognizing its unique architectural features despite the significant wear and tear it had sustained over more than a century, including its use as a rooming house. Many prospective buyers were deterred by the daunting restoration effort required for the crumbling plaster and paint-covered woodwork, but Victory saw the potential in the “decoratively fabulous” structure. The house, designed by architect John E. Dwyer, features elaborate plaster relief decorations on its walls and ceilings, with motifs ranging from florals and scrollwork to swags and musical instruments. Victory believes these varied motifs might have been a developer's showcase for plasterwork options available to buyers during the neighborhood's new-home market boom. Upon acquiring the house, Victory decided to inhabit the space and allow it to guide her restoration process, avoiding immediate, radical changes. Her approach began with the garden-level front bedroom, which featured impressive wood wainscoting but was in disarray. She learned wood stripping techniques, working alongside an experienced professional, to restore the original woodwork, including intricate fretwork, to its natural state. The plasterwork presented an even greater challenge, with much of it cracked. A significant turning point was the recommendation of Raul Agrippa of Agrippa Plasterers, who meticulously restored the damaged plaster. Agrippa's method involved cleaning and documenting the original bas-relief details, creating new smooth surfaces, and then re-creating the missing or damaged ornamentation. This work has been ongoing for over a decade and a half, with some areas, such as the living room ceiling and entry, still awaiting completion. Victory recounts an incident where an electrician's aggressive work caused a portion of the kitchen ceiling and medallion to fall, which Agrippa painstakingly reassembled. During a recent renovation, Victory installed a new herringbone-pattern white oak floor throughout the parlor level. The existing Ikea kitchen at the rear of the house, which suffered damage during this process, is currently undergoing remodeling, a plan that was interrupted by the COVID-19 pandemic. Despite its rudimentary state, the kitchen is a grandly proportioned, south-facing space that Victory has transformed into a greenhouse for her thriving houseplant collection. An adjacent new half-bath, formerly a dumbwaiter closet, was also added. Beyond the structural restoration, Victory's interior design choices are a reflection of her unique and witty aesthetic. Her decor blends modern and romantic elements, incorporating whimsical contemporary artworks and handcrafted solid-wood objects from diverse cultures. Having worked in fashion design for Ralph Lauren, she emphasizes the importance of personal expression in her home, moving away from a previously more minimalist style to embrace a more bohemian approach with a preference for color. A prime example is the Roche Bobois Mah Jong sofa in the front parlor, assembled piece by piece in various colors over time, alongside a distinctive mid-century 'Cocoon' ceiling pendant by Achille Castiglioni. Victory is a keen bargain hunter, sourcing pieces from places like Housing Works, City Opera Thrift Shop, and even discovering unique items like a carved wood pole from the West African Dogon culture. Her artistic tastes extend to collecting works from contemporary artists, such as a painting by Su-en Wong, a ceramic bust by Emil Alzamora, and a painted wood butler by Robert Carter. Victory, an alumna of Howard University and the Fashion Institute of Technology, has a professional background in fine arts and fashion design, having worked for notable firms like Kenneth Cole and Donna Karan's Urban Zen. The article concludes with her anticipation of a post-pandemic shift towards more expressive fashion and a desire for people to embrace dressing up again. The piece originally appeared in the Spring/Summer 2021 issue of Brownstoner magazine, highlighting the enduring nature of her restoration project and her personal design journey. #BedStuy #HomeRenovation #PlasterworkRestoration #WoodworkRestoration #InteriorDesign #ShelleyVictory #BrooklynHomes #HistoricPreservation #BohemianDecor

Tribe Studio, a Sydney-based architectural firm, undertook a unique project to renovate House Au Yeung, a typical inter-war bungalow in Roseville, Sydney. The family residing in the bungalow desired a more spacious and functional home with an improved connection to their 362 sq m garden. The architects made an unconventional decision to slightly reduce the building's footprint while simultaneously enhancing its spaciousness. This project, which took two years from design to completion, focused primarily on the rear and upper levels of the house. The original structure featured a poorly connected series of rooms at the back, which were replaced with a new pavilion. This strategic alteration resulted in a minimal reduction of the building's footprint by 4 square meters, bringing the total to 129 sq m. The new rear pavilion now accommodates a large open-plan kitchen, living, and dining area, fostering a better flow and interaction with the garden. Additionally, one of the original formal reception rooms at the front of the house was repurposed into a master bedroom with an en-suite bathroom, optimizing the use of existing space. The renovation also included the addition of a roof extension with an extended gable. This new upper level skillfully incorporates two children’s bedrooms, a bathroom, and a playroom, demonstrating an efficient use of vertical space. Hannah Tribe, the founder of Tribe Studio, described the house as possessing a 'whimsically and nonsensically detailed' character, blending elements of Tudor and California Bungalow styles. The design aimed to preserve and enhance this inherent charm. A key design element involved a 'material palette call and response' between the public and private areas of the building. Miriam Green, Tribe's managing associate director, meticulously recreated the brick sunburst feature from the original front elevation at the back of the house. Similarly, the lead light windows found at the front were reinterpreted as modern steel window frames in the rear, creating a harmonious visual dialogue between the old and new sections of the bungalow. The seamless integration of modern interiors and design elements behind the original red brick facade maintains the home's historic charm while offering contemporary living spaces. The playful block color bathroom tiling further contributes to the whimsical style of the house, adding an unexpected touch of modern design. #TribeStudio #BungalowExtension #SydneyArchitecture #ResidentialDesign #ArchitecturalRenovation #OpenPlanLiving #HistoricPreservation #ModernInteriors

Daniel Thompson, a lifelong admirer of 19th-century homes, acquired an 1881 brownstone in Bedford-Stuyvesant sixteen years ago. Having grown up in a similar architectural style, Thompson views his brownstone not merely as a residence but as an ongoing artistic endeavor, a historical restoration project, and a continuous learning experience. His approach distinguishes him from contemporary brownstone owners, prioritizing historical accuracy over modern renovation trends. The brownstone, located on a desirable tree-lined street, was originally built by developers Susanna Russell and architect I.D. Reynolds, who were known for constructing durable buildings. Despite falling into disrepair and having its spacious rooms partitioned into apartments over the years, the inherent quality of the original construction facilitated its revival. Thompson's goal was a faithful restoration, aiming to bring the 'grand old lady' back to her former glory, rather than undertaking a modern transformation. Thompson's efforts extended beyond a simple facelift. He benefited from the house's robust original features, such as remarkably level floors and preserved details like marble washbasins and rose bronze hardware. He diligently sourced period-appropriate items from salvage dealers and online platforms, dedicating significant personal time and expertise to the restoration. This detailed approach is evident throughout the home, from the reinterpretation of the parlor mirror to the display of Royal Worcester porcelain. His commitment to authenticity led him to research the home's past extensively. He consulted old social registers and newspaper archives, enabling him to identify former residents and even pinpoint historical events that occurred within his living room. This deep connection to the house's history, rather than being a constraint, serves as an inspiration, making the space feel vibrant and conducive to contemporary life. The woodwork, including the wall panels and the banister, stands out immediately upon entering. These intricate details, characteristic of the period, required specialized and costly labor for their original creation and subsequent restoration. For instance, the banister underwent a painstaking process of stripping, shellacking, and hand-rubbing with eight layers to achieve its current luster. Thompson's attention extends to minute, often unnoticed details, such as the elaborately engraved interior hinge of a door salvaged from a nearby, similar home. Thompson's philosophy echoes Florenz Ziegfeld's famous anecdote about silk underwear for his performers: the value of beauty lies in its intrinsic quality, even if it's not always overtly visible to others. He believes that beautiful environments, much like grand public spaces such as Grand Central Terminal, elevate the human spirit. The kitchen, designed by Thompson himself, reflects his dedication to historical accuracy while incorporating modern conveniences discreetly. He meticulously researched 1880s kitchen designs, integrating elements like a china cupboard and a hearth-set stove, while cleverly concealing contemporary appliances. While committed to historical integrity, Thompson avoids rigid historical reenactment. His furnishings and collections, though period-appropriate, are items he genuinely loves and has collected over time, allowing for a layered history within the house rather than a static recreation of a single year. He utilizes the residence as both his home and for tenants, seamlessly integrating modern comforts, such as radiant heating in the bathroom and refrigerated drawers in the kitchen, alongside his Victorian decor. This approach demonstrates a balanced perspective, embracing the spirit of the past without being confined by it, aiming to live well and make every day a great day within his beautifully restored brownstone. #BrownstoneRestoration #BedStuy #VictorianArchitecture #HistoricalPreservation #InteriorDesign #BrooklynHome #PeriodDetails #HomeRenovation #ArchitecturalHistory

This article explores the transformation of a 4,000-square-foot Federal-style row house in Society Hill, Philadelphia, undertaken by Brooklyn-based design firm Studio Dorion, founded by Michelle Ficker and Peter Dolkas. The homeowners, possessing a significant collection of family heirlooms, including chinoiserie end tables, a secretary cabinet, and Windsor chairs, sought to integrate these antique pieces into their modern home without creating a museum-like atmosphere. The design challenge was to blend these traditional items with contemporary elements, a style the homeowner referred to as 'grandma chic.' The house, built in 1828, had been stripped of much of its original character and left with plain gray paint. The renovation process, which took nearly four years, aimed to reintroduce charm and personality. A key aspect of the design philosophy was placing traditional antiques in modern contexts, such as a Queen Anne mirror next to a contemporary sconce, or a turned wood bed alongside colorful children’s books, making the older pieces feel less formal and more integrated into daily life. The designers also encouraged the use of antiques in children's rooms, promoting a lived-in rather than precious environment. Ficker highlights several design choices and challenges throughout the project. The first items acquired for the house were worn plant pedestals, chosen for their traditional yet stripped-back aesthetic, and a grayscale, traditional-motif living room curtain fabric that offered sophistication while visually correcting off-center windows. To refresh the 'granny-chic' look, contemporary art was strategically paired with traditional upholstery. Notably, a Roy Lichtenstein print was placed alongside furniture inherited from the client's grandmother and mother, incorporating pieces from a 1960s art subscription box. A significant design risk was covering the breakfast room in striped wallpaper, despite a low ceiling, to create an illusion of vertical space. This bold choice, combined with an existing Delft tile fireplace, resulted in a 'more-is-more' moment that the clients enthusiastically embraced. The minimalist kitchen drew inspiration from Rita Konig's English farmhouse kitchen, featuring Shaker paneling, ample natural light, and a dark cabinet color, Studio Green by Farrow & Ball, to create a 'tavern-y' feel adjacent to the cozy breakfast area. The biggest splurges included custom beds and the replacement of all hardware with unlacquered brass for a consistent aesthetic. The sunroom's graphic floor was created by a decorative painter using Farrow & Ball paints in Bancha, Lichen, and Dimity, chosen to evoke a greenhouse feel, complementing the room's wraparound windows. In one bathroom, a contemporary sink, a remnant from a previous renovation, was made to feel more traditional by adding a fabric skirt. The laundry room, converted from a former bathroom on the second floor for convenience, received a significant upgrade with a sink, shelving, paneling (mirroring the kitchen's style), and a vibrant Picture Gallery Red paint by Farrow & Ball. In the primary bedroom, a fabric half-canopy was added to the bed to introduce drama and prevent it from being overshadowed by rich furnishings like a secretary cabinet and chinoiserie table. A niche in another bedroom was transformed into a 'cloffice'—a closet with a built-in desk—to accommodate the homeowner's work-from-home needs. An antique rocking chair for the daughter’s room was updated with a contemporary fabric, demonstrating how old pieces could be revitalized. The guest bedroom featured a blend of traditional and contemporary elements, with Vitsoe shelving providing a moment of minimalism. A detail Ficker had to persuade the homeowners on was painting all interior doors brown, departing from their previous white, which significantly enhanced the home’s character. The largest 'save' came from the extensive use of inherited family heirlooms, which not only reduced costs but also imbued the home with a deep sense of personal history and connection. #HomeTours #InteriorDesign #AntiqueIntegration #FederalStyleHome #PhillyHomes #StudioDorion #GrandmaChic #Renovation

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 describes the transformation of a London residence in the Marylebone area, located within a Grade I listed building at Park Crescent Gardens, by Bergman Design House. The project aimed to infuse warmth and a sense of 'hygge'—a Scandinavian concept of coziness—into the home of a British couple, reflecting the Swedish heritage of Albin Berglund, cofounder of Bergman Design House. Marie Soliman, cofounder and creative director, characterizes the design approach as embracing the concept of the flâneur and integrating wabi-sabi principles, which celebrate imperfection, impermanence, and the unconventional. The home spans 3,000 square feet across three levels, each designed with distinct character while maintaining overall cohesion. The entrance features a welcoming foyer and a den decorated in rich muddy teals, evoking the ambiance of a private member's club. In contrast, the first level hosts an airy and light-filled open-plan living room, dining area, and kitchen. The top floor includes a study room with expansive views. The main suite is adorned with pale apricot tones, crushed linen walls, and a hand-painted de Gournay Wisteria silk wallcovering, adding a whimsical touch. Throughout the home, existing period details have been meticulously restored, creating a blend of historical charm and contemporary design. Chocolate herringbone floors and muted, oyster-colored walls contribute to a sense of grandeur and an inviting atmosphere. A central feature of the kitchen is a striking island-bar crafted from pale green marble with russet veins, which serves as the heart of the living space. Additionally, a whiskey corner offers a view, featuring rare exotic (four seasons) marble in jewelry-inspired colors. Soliman notes that these elements were chosen to bring the beauty of London's Regent’s Park landscapes indoors and introduce playful yet elegant details, resulting in glamorous yet understated spaces. The home also showcases an impressive art collection, central to the owners' passion for discovery and display. Notable art pieces include a vibrant installation by Zhuang Hong-yi in the main living area and "The Thinker," an eccentric astronaut sculpture by Joseph Klibansky, positioned near the staircase to spark conversation. Soliman emphasizes that the home's design thoughtfully complements the artworks, echoing their shapes and tones without overshadowing their beauty. This approach ensures the rooms exude balance and considered calm, highlighting the architectural strengths and treasured objects. Most of the furniture consists of bespoke pieces from Bergman Design House’s Black Berg Collection. The article also mentions specific design elements such as Gubi's Pacha chairs in green boucle in the living area and artworks by Marie Soliman above the mini-bar cabinets. #LondonHome #InteriorDesign #BergmanDesignHouse #LuxuryResidence #HyggeDesign #WabiSabi #ArtCollection #Marylebone #ResidentialDesign

The article details the renovation of Lisa and Andrew Yeager's 1920s Birmingham bungalow, a project driven by their desire to stay in their cherished Crestwood neighborhood despite outgrowing their home. After 12 years, the primary challenge was the single bathroom, which was no longer practical for a family of four. Rather than moving, the couple opted for a renovation, enlisting Laura Harris, a registered interior designer with construction drawing experience, to draft a new floor plan. The renovation focused on several key non-negotiables. A second bathroom was paramount, alongside bringing the basement staircase up to code to transform the storage area into a finished living space, which now includes a Murphy bed for guests. Other essential changes included enlarging all closets, closing off impractical doorways, and reconstructing a slanted utility room at the back of the house. This reconstruction created a primary bath, a much-needed walk-in closet, and a spacious multi-purpose laundry room. The homeowner, Lisa, expressed significant relief at having a walk-in closet, a luxury in a house of this age. To maximize the small living room, Laura's design involved replacing an oversized sliding door with a solid wall to accommodate a couch. The renovation also meticulously preserved the home's original character, such as ceiling beams and built-in half-wall bookshelves, which distinguish the living room from the adjacent dining room. A crucial budget-saving strategy was retaining as much existing infrastructure as possible, including reusing doors and windows and keeping plumbing in its original locations to avoid costly pipe alterations. The homeowners appreciate that every square inch of the house is now utilized daily, making it highly livable. For finishes and fixtures, the Yeagers collaborated with designer Mackin Thompson, known for her keen eye. Mackin drew inspiration from the living room's original sky blue walls, repainting them with Farrow & Ball's Light Blue, and extending a calming blue-and-green color palette throughout the home. To furnish the bungalow economically, Mackin helped integrate heirloom pieces from Lisa's late father, such as the dining table, a piano, a twin bed, and a nightstand. These items, initially thought unusable, were creatively incorporated into the design. The project successfully transformed a charming but functionally limited house into a larger, more efficient living space while adhering to a modest budget. The entire expansion was limited to a single 3-foot-deep build-out across the back of the house. The renovation highlights strategic choices such as prioritizing gathering areas, embracing personal preferences like a large family dining table, and sourcing artwork from unexpected places like Target and Facebook Marketplace. The kitchen update was a low-lift effort involving reconfiguring existing elements, keeping appliances, and updating surfaces with new backsplash, quartz countertops, and ready-made cabinetry color-matched to Benjamin Moore's Grant Beige, along with Sherwin-Williams' Alabaster on the walls. Mackin advised splurging on main hubs like the kitchen and living room and being more conservative in other areas. The only entertaining space, which also serves as the entry, was enhanced with Ballard Designs banquettes, estate sale furniture re-covered in performance fabrics, and bamboo shades to increase seating and natural light. Architectural elements were emphasized using Sherwin-Williams' Agate Green on millwork and ceilings to make trim pop. In the primary bedroom, a high-low balance was struck, splurging on a new bed, side tables, and dresser while using affordable linens and lamps from Target and a rug from Rugs USA, creating a comfortable haven. #HomeRenovation #Bungalow #InteriorDesign #BudgetFriendlyDecor #HistoricHome #FamilyHome #HomeDecor #SmallSpaceLiving #BirminghamHome

The Ghillanyi House, designed by Harry Seidler for the Ghillanyi family in 1957, is revisited to assess its longevity as a significant piece of Modernism. Located in the leafy suburb of Beaumont, Adelaide, it stands as the sole extant Seidler house in the city. The article reflects on the house's evolution over more than fifty years, highlighting how it has been sensitively adapted by various owners to accommodate contemporary lifestyles while retaining its original character and connection to the environment. The current owners, who have lived in the house for ten years, are preparing to leave, having engaged in a respectful and robust dialogue with the dwelling, enhancing its identity while integrating modern standards. The house's provenance is meticulously documented, with information sourced from the University of South Australia Architecture Museum, confirming details such as its construction cost (£8136) and completion date (July 1959). The construction was supervised by Dickson and Platten, a prominent Adelaide practice of the time, known for its approach to projects from first principles, attention to craft, and materiality, akin to Seidler's philosophy. Correspondence between Seidler and Dickson and Platten reveals a shared commitment to simplicity and functional a-stylism, with Seidler emphasizing "neatest and cleanest" junctions and "clean and simple design" for fittings. The material palette, while diverse in texture—including random rubble, smooth face brick, and off-form concrete—was initially pale and subdued, aligning with Seidler's subtly antipodean interpretation of Modernism's cool white box. Over time, the Ghillanyi House has become more vibrant, featuring painted accent walls, primary-hued curtains in children's bedrooms, and abstract external murals. Its accommodation has also expanded with the addition of a bedroom and bathroom, transforming the original main bedroom into a children's rumpus room, reflecting contemporary family living trends. Despite these alterations, the fundamental plan, which delineates distinct public and private zones finely tuned to orientation and outdoor access, remains intact. Seidler's original built-in furniture continues to offer clarity, utility, and detail, with elements like a suspended silver ash cabinet with recessed uplighting still present. The kitchen, being the most technologically driven space, has seen the most significant updates, with materials like Caesarstone and charcoal ceramic tile replacing older finishes, and the work triangle reconfigured for modern appliances and better traffic flow. The house exemplifies passive climate control through its substantial overhangs and thermally responsive materials. Its ability to naturally cool interiors with gully breezes, even during Adelaide's hot weather, underscores its thoughtful design, despite the recent installation of air conditioning due to challenges in integrating services within its exposed structure. The enduring quality of the construction is evident in the minimal signs of wear, a testament to its robust design in Adelaide's reactive soil conditions. The volumetric composition of the house, described by a young occupant as resembling a "block of cheese," with its strong shapes, distinctive foliage, and high-contrast light and shade, maintains its architectural integrity while having acquired a rich patina over the decades. The article concludes by pondering the extent to which Seidler's design successfully challenged architectural pretensions in suburbia, ultimately suggesting that the Ghillanyi House achieved its lofty aim of being an avant-garde dwelling that truly feels like home. #GhillanyiHouse #HarrySeidler #Modernism #ResidentialArchitecture #AdelaideArchitecture #ArchitecturalPreservation #MidCenturyModern #HomeRenovation #PassiveDesign

Hyphen House, a historic Hudson Valley farmhouse dating back to the 1700s, has undergone a significant transformation from a flower farm into a live-work artist's retreat. Originally built for the Dutch Van Messler family, the property once functioned as three separate apartments, now reconfigured into a single, cohesive residence. The name "Hyphen House" signifies this reunification of fragmented spaces, emphasizing the delicate balance required to merge its historical integrity with modern functionality. The renovation was spearheaded by artist Michele Lobo, the owner of Hyphen House, who commissioned her daughter’s design practice, NoNo Studio, co-founded by Susannah Stopford and Alejandra Murillo. The core challenge for NoNo Studio was to modernize the centuries-old structure without sacrificing its inherent historical soul. The designers described the process as a "high-stakes game of chess," navigating thick stone walls and inherent structural quirks to create a flowing layout while preserving the imprint of its past. Upon Lobo's initial acquisition, the house was a 'time capsule' filled with floral motifs, from wallpaper to light switches and lampshades, a legacy of its flower farm origins. While some original elements, such as specific wallpaper in the southern living room and powder room, were retained, others were reimagined. Notably, a quirky wax melter for candle making, hidden behind a fireplace, was preserved, as was the original wood of a mantle stripped back after extensive paint removal. Other enduring features include silk-screen wallpaper, a stone wall in the kitchen, a powder room under the stairs, and a built-in bookcase filled with art books. The aesthetic choices, including color palettes and material selections, were heavily influenced by the home's history and Lobo's extensive collection of art and objects. The designers aimed to create a dialogue between heritage and contemporary freshness, integrating 18th-century antiques with Lobo's globally sourced pieces. The guiding principle was to identify and amplify the distinctive character of the house. A primary goal of the renovation was to establish a home that could support Lobo’s artistic endeavors. After decades abroad, she sought a space near family that could accommodate her work across various mediums and scales. The property now thrives as a creative compound, featuring a sculpture studio in the former flower shop and a barn converted into an art gallery and entertaining area. NoNo Studio embraced the building's peculiarities, such as parallel staircases and duplicate living areas, transforming them into unique design opportunities. The project stands as a testament to the idea that preserving the spirit of an old building is as valuable as constructing something new, resulting in a warm, 'unbuttoned,' and inspiring "incubator of creativity." #HistoricRenovation #ArtistRetreat #HudsonValleyHome #NoNoStudio #InteriorDesign #AdaptiveReuse #ArchitecturalPreservation #LiveWorkSpace #FarmhouseRenovation

The Rathnelly House, an Edwardian-era semi-detached dwelling located in midtown Toronto, underwent a comprehensive and formally expressive renovation by Studio VAARO. The project aimed to significantly enhance functionality, spatial fluidity, and overall living space while meticulously respecting the existing footprint of the building. The clients, a professional couple with a young child, sought both practical and aesthetic improvements, including an increase in usable floor area, elevated ceiling heights, and expanded storage solutions. The design objective was to create a welcoming and distinctive environment that balanced open communal areas with private, secluded spaces. Extensive structural modifications were key to achieving the desired transformation. These interventions allowed for a fundamental reordering of the interior spaces, resulting in an expansive plan that added 140 m² (1,500 ft²) to the home, effectively increasing its functional area by almost 60%. This substantial expansion was carefully integrated to maintain the architectural integrity of the original Edwardian structure while introducing contemporary design elements and improved spatial arrangements. The renovation focused on creating a harmonious blend of old and new. While the external appearance maintained deference to its Edwardian heritage, the interior was reimagined to meet modern living standards. This involved careful consideration of material selection, lighting, and custom built-ins to optimize both aesthetics and utility. The design team, led by Shengjie Qiu and Liam Hall, under the office leadership of Aleris Rodgers and Francesco Valente-Gorjup, worked to ensure that every aspect of the renovation contributed to a cohesive and functional living environment. The expanded floor area facilitated the creation of more generous common areas and private zones. The increased ceiling heights contributed to a sense of openness and airiness throughout the house, improving natural light penetration and overall ambiance. Storage solutions were integrated seamlessly into the design, addressing the clients' need for practical organization without compromising the aesthetic appeal of the interior. The project’s success lies in its ability to marry the historical character of the Edwardian house with a modern, adaptable, and significantly enlarged interior that caters to the evolving needs of a contemporary family. #ResidentialArchitecture #HouseRenovation #InteriorDesign #EdwardianHouse #TorontoArchitecture #StudioVAARO #StructuralInterventions #ModernLiving