The Unicorn House

The Arc House, a modern private residence located on three forested acres in East Hampton, New York, was completed in 2010. Designed by architect Maziar Behrooz, the 6,400 square foot home features a distinctive architectural approach that integrates glass, steel, stone, and wood with a unique partially subterranean design. Over half of the structure is buried, fulfilling the owners' desire for a minimalist aesthetic. The architectural inspiration for the Arc House stemmed from an F-16 fighter jet emerging from a hangar, echoing the simplicity and efficiency of a Quonset hut. The upper level of the house is characterized by a self-supporting corrugated steel arch, measuring 60 feet by 20 feet, which forms both the roof and side walls. This industrial approach was chosen to transcend the perceived limitations of the site, which is situated under a flight path to a local airport and near a train track. The architect aimed to create a column-less, self-supporting canopy for the public spaces, focusing on cost-effectiveness while maintaining an intimate yet spacious feel. The chosen radius of 39 feet for the arch results in a peak ceiling height of 16 feet, balancing comfort with a sense of grandeur from the uninterrupted ceiling curve. Green features are integral to the Arc House's design, including geothermal heating for energy efficiency and a rainwater collection system positioned at both ends of the arch. A vegetated roof on the four-car garage further enhances the home's sustainability, blending seamlessly into the landscape. This garage is sunken and is accessed via a green surface of drivable grass interspersed with Belgian block stones. The lower level of the house accommodates an office, a sitting room, and workout areas. This level opens to a courtyard, facilitating cool air circulation and providing a private outdoor space. By embedding the house into the landscape, the design transforms the flat site into one with varied horizons, leveraging natural cooling and passive design principles. The Arc House's construction utilizes SIP panels, high-thermal windows, and closed-cell foam insulation, contributing to significantly lower energy consumption compared to conventional homes of similar size. The design has garnered recognition, including the Best Metal Roofing award in the 2011 MCN Building and Roofing Awards and the AIA Peconic Honor Award in the Project Category in 2009, when it was known as “Hangar House.” The green roof, in particular, acts like an infinity pool, with its vegetation merging into the surrounding environment, creating a continuous visual effect. The green roof installation at the Arc House was a significant culminating project for students from the Bronx, participating in a four-year educational program by Green Living Technologies International (GLTi). This program, which utilized the Mobile Edible Wall Unit (MEWU) for indoor vertical farming, aimed to enhance student learning through hands-on experience with green infrastructure. Under the guidance of GLTi President George Irwin, students engaged in various activities, from blending and testing growing media to actual installations. The curriculum focused on integrating CORE subject matter with authentic applications, fostering skills in biology, earth science, business, measurement, and problem-solving. This approach not only prepares students for standardized testing but also introduces them to advanced green roof and wall technologies. The program has demonstrated positive outcomes, including high attendance rates, 100% passing rates for the NY School Regents Exam, and 100% graduation rates. The Arc House project in 2010 offered these students an opportunity to apply their learned skills, earn a living wage, and experience a professional project in a high-profile setting, embodying the apex of the GLTi education program. #ArcHouse #GreenArchitecture #SustainableDesign #GreenRoof #GeothermalHeating #RainwaterHarvesting #MaziarBehrooz #ModernResidential #GLTiEducation

Tiny House Valhalla, a 140-square-foot abode, is the fifteenth project by Baluchon, a small studio based in Le Pallet, Brittany, France, specializing in bespoke tiny houses. Founded in 2016 by Laëtitia Dupé and Vincent Bouhours, Baluchon designed this particular tiny house for a family of three residing nearby. The exterior facade of Tiny House Valhalla features horizontally laid wood siding, with certain sections painted white to create a contrasting visual effect. The door, roof, and window frames are painted in a vibrant blue, contributing to the home's whimsical appeal. Western red cedar is used for all the siding, with some sections treated with Finnish linseed white paint. The single-slope roof is constructed from blue metal sheets and is equipped with roof ladders supported by five brackets on each gable. The interior of Tiny House Valhalla is thoughtfully designed to maximize its compact footprint. It incorporates two distinct lofted spaces: one serves as a living lounge, and the other functions as the parents' bedroom. The parents' bedroom is situated above the bathroom and kitchen areas and is accessed via floating steps. This lofted sleeping space includes a double bed, a removable bedside table, and a balustrade for safety. A wide staircase on the left side of the kitchen leads up to the 'living room' loft. The initial two steps of this staircase are designed to be tucked away under a table when not in use, demonstrating a clever use of space. The kitchen, located across from the entrance door, is well-equipped despite its small size. It includes a sink, a compact oven, a hot water tank, a refrigerator, and gas hobs. To the left of the entrance door, there is a work area featuring a dining table/study desk that extends almost six feet in length, providing ample space for various activities. The bathroom is positioned behind the door, adjacent to a tall bookshelf near the entrance, and a close-up image reveals its compact yet functional design. Throughout the house, slender, panoramic windows offer views of the outdoors, allowing natural light to permeate the living spaces and connecting the inhabitants with their surroundings. The half-level living loft is furnished with a sofa, a coffee table, and potted plants, creating a cozy and inviting atmosphere. Two wardrobes situated beneath the living area define a small corridor that leads to an additional sleeping space. This den-like sleeping nook is versatile; it can easily be converted into a hidden storage area by closing its yellow curtains when not in use. The floating stairs also double as shelf space, further enhancing the home's storage capabilities and functional design. This tiny house exemplifies efficient space utilization and creative design solutions to accommodate a family of three comfortably within a minimal footprint, showcasing Baluchon's expertise in crafting unique and cheerful tiny homes. #TinyHouse #SmallSpaces #HomeTours #CompactLiving #FrenchDesign #CustomHomes #SpaceSavingSolutions #ResidentialArchitecture #InnovativeDesign

The Flinders House project, designed by Wood/Marsh Architecture, is situated in the diverse landscape of the Mornington Peninsula, specifically near the coastal town of Flinders. This region is characterized by rolling hills, vineyards, and mature cypress tree windbreaks, with glimpses of Westernport Bay. The firm also designed the Port Phillip Estate winery in Red Hill, which shares conceptual similarities with Flinders House, particularly in its exploration of architectural form, materiality, and site integration within an undulating landscape. The Flinders House is strategically placed at the crest of a hill, embodying a monumental quality and a strong connection to its earthy surroundings. The architects aimed for the house to appear as a permanent fixture that emerged naturally from the landscape over time, rather than a recent addition. This design philosophy imbues the building with a sense of permanence and resilience. The house features a plan composed of two wings, with geometries that dynamically negotiate each other and the site's contours. Its striking off-white, rendered form guides the eye along sweeping, three-dimensional curves. An eastern void between the wings reveals a glass pavilion, which bridges the solid structures and frames a view towards the western timber pool deck. This deck is strategically positioned to offer shelter from prevailing winds. Access to the dwelling is achieved through an oblique approach, marked by a plain entry via a solitary black door set within the sand-rendered wall. This initial denial of direct visual access creates a dramatic reveal upon entry, where the axial panorama of the interior view is unveiled. This theatrical device, also utilized in the Port Phillip Estate, draws visitors into the expansive main living zone, a huge volume designed to offer ocean views from various vantage points. The main living space is notable for its striking height and sweeping ceiling, which simultaneously compress and release the occupant through visual and volumetric experiences. To the left, a grand sweeping staircase leads to the main bedroom, positioned above an enclosed bar and an intimate, sunken den where views are framed at ground level. To the right, the ceiling lowers over the dining area and kitchen, creating a more intimate "cave-like" space within the timber-battened enclosure. The design's formal language is inspired by the fluid movement of the ocean and waves. The architects emphasize that the interiors and exteriors are fully integrated, ensuring a strong connection to the surrounding landscape. The cursive, non-geometric form extends into the roof, leading to the sole room on the first level and creating a visually smooth flow. The chiaroscuro effect amplifies the form, contributing to a celebratory section that guides occupants towards an intimate upper space. The house was conceived not as a holiday home but as a versatile dwelling capable of hosting large extended family gatherings while also providing an intimate setting for two occupants. Wood/Marsh Architecture showcases a sophisticated use of spatial geometry, recalling their earlier work like the Gottlieb House. The design moves beyond simple sculptural geometry, integrating program, diurnal light qualities, and activated raw materials to create impact. Programmatically, the southern wings house the family, with children's bedrooms and a playroom located at the western end, and the master suite and adult areas situated in the soaring eastern section. The other wing contains guest rooms with private vistas and amenities to the east, and services to the west. The material palette, though simple, achieves a high level of refinement. The single-storey house is constructed with rendered double-brick walls, a concrete floor, and timber windows. The sand and cement render was intended to evoke a natural, almost organic texture. This contrasts with the undulating timberwork, demonstrating a craft and elegance that is "not manufactured but made." The architects' confidence in using simple forms and materials to define architecture is evident, with refinement achieved through programmatic resolution. Wood/Marsh's engagement with the arts community, both locally and internationally, informs their approach. Roger Wood draws references from various disciplines such as dance, theatre, and film, particularly valuing the ephemeral experience of dance. He describes the house as possessing a visceral and ephemeral quality, similar to dance or sculpture, which may not be immediately grasped but resonates deeply after experiencing it. The project team included Roger Wood, Randal Marsh, Gemma Cooke, Matt Borg, David Goss, Sally Holbrook, Charlie Inglis, Dominic Pandolfini, and Ben Sheridan. ESD and services were provided by Aurecon, landscaping by Tract Consultants, and structural engineering by John Gardner and Associates. #ResidentialArchitecture #WoodMarshArchitecture #MorningtonPeninsula #SustainableDesign #SpatialGeometry #FormMaking #Materiality #LandscapeIntegration

Model House, located in Williamstown, a south-west bayside suburb of Melbourne, is the renovated home and studio of theatrical set designer Richard Roberts and his wife Joan Morgan, a teacher. Designed by Breathe Architecture, the project reflects the clients' personal vision, with Richard even creating a miniature model of the house himself. The couple, having sold their family home, sought a residence tailored to their current and future needs, emphasizing a dedicated studio space for Richard's set models and a strong commitment to sustainability. Breathe Architecture, known for its sustainability-focused approach, integrated passive systems into Model House's design. This involved maximizing natural light through north-facing openings, utilizing double-glazed windows for thermal regulation, and strategically placed shading to manage solar gain throughout the seasons. These features significantly reduce reliance on mechanical heating and cooling, a crucial consideration for energy efficiency in Australia. The practice also prioritized the use of salvaged, recycled, or sustainably sourced materials, minimizing embodied energy and the overall carbon footprint of the building. This pragmatic approach to sustainability, while highly functional, is balanced by a design philosophy that aims to create meaningful human connections and a sense of warmth. The interior of Model House showcases lightly finished recycled timber, which adds a natural radiance and unique character to the surfaces. The imperfections and patina of the recycled timber tell stories of its previous life, contributing a distinct personality that new materials often lack. Joan highlighted that this level of imperfection allows them to live comfortably without concern over minor spills. The material palette extends beyond timber to include robust elements like steel, copper, and pressed fibre cement sheeting, used for bespoke features such as the kitchen bench. Despite appearing spare, these materials are employed with careful consideration and sensitivity in the detailing and planning. A notable design element is the floor-to-ceiling red velvet curtain in the ground-level living areas. This dramatic feature not only provides a vibrant contrast to the interior's dominant material palette but also offers flexibility in how the living spaces can be utilized. It helps to dampen acoustics and can be drawn to seal off the central staircase, preventing heat loss. This theatrical touch also serves as a playful nod to Richard's profession as a set designer, weaving his identity into the very fabric of the home. The exterior of Model House also features a theatrical allusion. The street elevation is designed to resemble a Victorian workers' cottage, or a 1:1 scale model of one. This was a council requirement to align with the historical character of the street, despite the previous building being a 1980s brick-veneer structure. The street-facing facade is entirely white, mimicking the appearance of white card, a reference to Richard's creative medium. The architects' original vision was a more contemporary design with steel sheets, but the council's demand resulted in this convincing portrayal. The success of this facade is evident in visitors often asking if the house has been renovated, suggesting its seamless integration into the streetscape. Ultimately, the house is praised for its performance as a living space, creating a calm and inviting environment that is appreciated by its occupants and visitors alike. #ModelHouse #BreatheArchitecture #SustainableDesign #RecycledMaterials #PassiveSystems #MelbourneArchitecture #ResidentialDesign #TheatricalAllusions #ClientCentricDesign

This article offers a glimpse into the dynamic New York City apartment of designer Tali Roth, who shares her living space with her husband, Marcus, and their two sons, Phoenix (4) and Romeo (3 months). An Australian expatriate who moved from Melbourne to Chelsea, NYC, Roth has built a career on crafting imaginative and elegant spaces for clients without excessive spending. This approach is evident in her own rental apartment, which she has meticulously designed over time, emphasizing the importance of leaving room for evolving tastes and expressing personal style through a mix of high-end and affordable finds, such as an IKEA storage unit paired with a 1950s Italian rattan chair and a mohair sofa from Crofthouse L.A. Her gallery wall showcases a diverse collection, including art by Paul Davies and Georgia O’Keeffe alongside flea market discoveries. Currently on maternity leave, Roth has channeled her creative energy back into her home, regularly rearranging furniture, repositioning art, and acquiring new pieces. A recent notable addition is a large Gufram cactus coatrack, strategically placed in the children’s play area. Despite the presence of young children, the apartment maintains a sophisticated aesthetic, with subtle elements like a playhouse or stroller being the only indicators of its family-friendly nature. Roth demonstrates that an elevated family home can be achieved on a budget through thoughtful design choices. Roth offers practical advice for curating a stylish yet low-maintenance rental suitable for both adults and children. She advocates for avoiding delicate textiles, specifically viscose fabrics, which are prone to shriveling when spilled upon. Instead, she recommends resilient materials like wool, highlighting her living room sofa, which was reupholstered in mohair for durability. Her second couch is designed for comfort and practicality, accommodating family movie nights and nursing without concern for damage. Emphasis is placed on selecting sturdy furniture that can withstand the activities of rambunctious children. Roth points to her low-slung marble coffee table as an example, chosen for its stability. While seemingly child-friendly, a collection of round pillows on the sofa presents a humorous challenge, as her son often dislodges and drools on them during morning screen time. The designer also excels at blending high and low design elements to create custom looks. A 170-inch wall-mounted cabinet in the living room, for instance, is an IKEA base enhanced with a Semihandmade top, fronts, and hardware. Similarly, brass-and-wood shelves in the dining room were an Etsy find. Roth prioritizes investing in art and collectible furniture while opting for more budget-friendly options for pieces that might not be transferable to future residences. Reupholstery is presented as a valuable strategy for refreshing existing pieces rather than discarding them. Two orangey-red chairs in Roth’s living room, originally purchased for $300 each from Etsy and initially upholstered in a “poo-green” color, underwent a transformation. They were first covered in baby blue velvet for her son’s room and later re-covered in a rust velvet with white piping, inspired by a hotel in Paris. Despite the cost of reupholstery, Roth views it as a worthwhile investment due to the chairs’ sentimental value and timeless swivel design. For larger purchases, Roth advises thrifty approaches, often sourcing items from auctions and flea markets. Her sofas include one from the ABC Carpet & Home Outlet, and her Rudolf Wolff dining chairs were assembled from two separate vendors, requiring creative adjustments like spray-painting one to match. She also designed her own dining table. Finally, Roth addresses storage challenges common in rental apartments. With limited closet space, she employs a combination of customized pieces and hidden shelves in the boys’ rooms to organize toys and clothes. In the master bedroom, modular IKEA units keep items out of sight. The pieces that are displayed are carefully curated, each possessing a unique story, from a decorative plate acquired in Positano to crystals gifted by her father and a vase purchased during a vacation in Murano. The art throughout the home comprises gifts from friends and neighbors. Through vision, clever hacks, and an appreciation for beautiful details, Roth demonstrates the possibility of creating a family-friendly design that is both practical and aesthetically pleasing. #InteriorDesign #FamilyHome #NYCDesign #BudgetDecorating #RentalDecor #HighLowMix #FurnitureHacks #SustainableDesign

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

Actress and farmer Isabella Rossellini, in collaboration with architect Pietro Cicognani, has transformed a dilapidated 1830s barn in Bellport, Long Island, into a highly original rural home that defies conventional design norms. Rossellini's home is one of 18 projects featured in Cicognani's new book, 'Pietro Cicognani Architecture and Design,' highlighting their unique and playful approach to architecture and interior design. The property, originally a series of three barns, centers around a grassy 'piazza,' a feature designed by Cicognani that evokes an Italian feel while also reminding Rossellini of her Swedish heritage due to the buildings' red color. This unconventional layout was born from Rossellini's desire for a home that prioritized space and lifestyle over traditional room allocations, drawing inspiration from her previous experience living in a loft. The collaboration between Rossellini and Cicognani is characterized by their shared willingness to make daring and creative choices, moving away from rigid architectural conventions. The interior of the barn reflects Rossellini's eclectic personality and passion for the animal kingdom and circus themes. The expansive 35-foot-long barn's lower floor functions as a living area, filled with a quixotic collection of art and curios. Among family photographs and film stills, items such as a large banner depicting a snake charmer and a rearing horse from a movie set serve as focal points. The floor in this area is innovatively painted plywood, designed to mimic a rug, further illustrating the home's playful and original aesthetic. A low wooden shelving unit informally displays a collection of books and framed photographs. The sleeping quarters are located in the hayloft, accessible via vintage airplane steps sourced by Cicognani. This rustic bedroom features large windows that offer ample natural light and verdant views, with simple muslin curtains providing privacy. The largest barn space serves as a creative laboratory for Rossellini's movie and theater pieces, functioning as both a workshop and a sleeping area. The cottage on the property has been converted into a kitchen, dining room, and guest bedroom with a bathroom, while a third barn was specifically designed by Pietro to house a pool and sauna. Rossellini, a graduate in animal behavior and operator of a 30-acre farm, integrates the needs of her animals into her daily life, rising early to care for them and teaching about the value of wool. The home is a direct manifestation of her lifelong dream of living a rustic, animal-centric life, characterized by spontaneous interactions with her farm animals, such as sheep occasionally stampeding into the house. The design narrative of Rossellini's home is one of thoughtful unconventionality, where every element contributes to a deeply personal and vibrant living space. #CelebrityHome #BarnConversion #LongIslandDesign #PietroCicognani #EclecticInteriors #RusticModern #AnimalThemedDecor #UniqueArchitecture #CreativeLiving

Juliet and Jonathan, owners of a Federation home on Sydney's Lower North Shore, embarked on a significant renovation to accommodate their growing family of five. Initially, their single-storey, one-bathroom house was suitable for them and their first child, William. However, with the arrival of their second child, Patrick, and later Ellie, the need for more space and an additional bathroom became apparent. They considered various options, including reconfiguring the existing floorplan or selling the property, but ultimately decided to add a second storey, with Ellie's impending arrival serving as the primary catalyst for this decision. The couple enlisted Coco Tully, founder and creative director of Cote Interiors, to bring their renovation vision to life. Tully's warm demeanor and American-coastal aesthetic, characterized by a balanced use of color and clean yet inviting interiors, resonated with Juliet. The renovation project began in 2023, with architectural plans by Bennett Murada already in place. The builders had initiated the conversion of the ground-floor study into a staircase and commenced the construction of a first-level addition. This new level was designed to include a main bedroom suite with a balcony, a new study, a bathroom, and an additional bedroom, effectively doubling the functional space of the home. Juliet, having previous renovation experience with an Eastern Suburbs terrace, actively collaborated with Coco on various design elements. Their collaborative process involved refining lighting fixtures, joinery designs, material finishes, paint colors, and furniture selections. Coco Tully highlighted that while Juliet had a clear vision and refined taste, the busy parents required professional support to execute their dream. The design philosophy aimed to respect the home's original Federation character while incorporating a breezy, holiday-inspired atmosphere. This was achieved through elements such as handmade tiles, cane accents, and a cohesive blue, green, and white color palette. Attention to detail was paramount in the renovation. The couple opted for enduring finishes and fixtures, including natural stone, weathered brass, and classic wall lights, demonstrating a preference for quality over cost or speed. Specific examples include the addition of a bead to the kitchen joinery profile, the use of marble capping tiles and skirting in the bathroom, and the selection of Schumacher 'Scattered Stars' wallpaper and blush Roman sheers for Ellie's room, designed to adapt as she grows. Every design choice throughout the home was meticulously considered to achieve an elegant and refined aesthetic. Practicality was another key consideration for the family. Juliet and Jonathan requested arched French doors to create a distinct separation between the entertaining areas at the rear of the house and the rest of the home. The laundry room was designed for maximum efficiency, featuring two washing machines, custom joinery to conceal laundry baskets, and a dedicated laundry chute. In the dining and living areas, where the family spends most of their time, Coco expanded the joinery to provide ample storage and shelving, offering spaces to display family photos, books, and decorative objects. Concealed storage along the bottom of the living room joinery was also incorporated to neatly store toys and games, promoting a clutter-free environment. Coco Tully emphasized that a home should be functional, easy to maintain, and facilitate a harmonious flow, thereby freeing up time for more enjoyable family activities. The renovation, spanning 14 months, was described by Juliet as an enjoyable and seamless process, resulting in a home that perfectly suits their family's current needs and provides an ideal setting for entertaining, especially with the added outdoor pool area. #HomeRenovation #InteriorDesign #FederationHome #FamilyLiving #CoteInteriors #SydneyHomes #ArchitecturalRenovation #HomeDecor #StorageSolutions

Laura Yeager Smith of Hudson-based Laura Yeager Smith Home & Design transformed an eclectic guest suite in an Aurora farmhouse into an innovative “Zen Den” for children. The space, located over a four-car garage, featured multiple windows, a pitched ceiling, a full bath, and two walk-in closets, making it suitable for a guest suite. However, the homeowners, whose three grade-school-age children had lost their lower-level play space after it was converted into an adult entertainment area, desired a dedicated area for their children to engage in reading, games, Lego building, and crafts. Smith’s design effectively combined the functionality of a guest suite with a kid-friendly playroom, leveraging her experience as a mother of four. The concept behind the “Zen Den” was to create a space where children could actively seek creativity and imagination. Smith established a neutral foundation by painting the room a soft gray and adorning the ceiling with white tongue-and-groove paneling. The room was then visually divided into two distinct zones using open shelving. A key feature for guest accommodation was a Murphy bed, integrated seamlessly into a stretch of poplar-and-maple cabinetry, allowing it to be lifted into the wall when not in use. The doors concealing the Murphy bed were flanked by shelves designed for organization, featuring leather-trimmed woven bins for toy storage and small drawers with clear acrylic fronts for sorting Legos by shape, size, and color. A dedicated Lego building station was created on a wall perpendicular to the cabinetry, clad in white Lego panels and equipped with a quartz countertop. This design allowed children to build directly onto the wall, with the countertop also serving as a stable surface for reaching higher sections. Square ottomans upholstered in tufted caramel leather provided seating for building, and completed Lego creations could be displayed on modular shelves painted in Benjamin Moore’s Deep Sea Green. One of the most distinctive elements of the “Zen Den” was the inclusion of “reading pods.” Smith custom-designed these ergonomic features with open sides and channel-tufted interiors, upholstered in a vibrant performance fabric featuring Agean blue, hot pink, and purple. These pods were installed three feet above the floor on brass posts, accessible via ladders, maximizing the room's vertical space and footprint. The Aegean blue color scheme was extended to applique-velvet draperies and a heathered Flotex floor covering, which provided the comfort of carpet while offering the durability and easy maintenance of a hard surface, suitable for art and craft activities. For collaborative activities, four armchairs, kid-proofed with white indoor-outdoor fabric and scaled for both children and adults, surrounded a walnut Hickory Chair-brand table. This table's height was adjustable, accommodating various activities from games to dining. On the opposite side of the open shelving, a quartz-topped craft table was positioned with five stools upholstered in pink performance fabric. A sea-green cabinet was designated for storing games, puzzles, and crafting supplies, ensuring that “everything has a home.” Notably, the room was initially designed without electronics, encouraging imaginative play, though the homeowners had plans to install a TV in the future. The children, however, did not seem to miss electronic devices, engaging fully with the creative environment provided. #AuroraFarmhouse #ZenDen #ChildrensPlayroom #HomeDesign #InteriorDesign #CreativeSpace #LegoStation #ReadingPods #KidFriendlyDesign

The "Hug House" by FIGR Architecture & Design, completed in 2025 in Australia, is an architectural project focusing on spatial layering, material richness, and seamless indoor-outdoor integration. The design concept revolves around a central courtyard, which functions as a "green heart" to ensure privacy while allowing natural light and ventilation to permeate the residence. This approach creates a sanctuary-like environment, promoting a deep connection with the natural surroundings. Key design elements and features of the Hug House include a thoughtful arrangement of spaces that interact with the central courtyard. The project emphasizes visual and physical porosity, allowing residents to experience the changing light and air throughout the day. Material selections contribute to the richness of the design, likely incorporating natural textures and a palette that complements the Australian landscape. The integration of indoor and outdoor areas is achieved through large openings and strategic placement of living spaces that extend into the courtyard, blurring the boundaries between built form and nature. The project details indicate a 230 m² area, suggesting a moderately sized single-family dwelling. Collaboration was a significant aspect of its creation, involving industrial designer Corey Baker, JP Building Group PTY LTD for the collaborative build, Fusion Engineering Group for structural engineering, James Wallace as the landscape consultant, and Oliver Smith as the lead carpenter/craftsman. ARCH STYLING, led by Cat Brown, was responsible for the interior styling. These collaborations highlight a multidisciplinary approach to achieving the architectural vision. Photographs by Tom Blachford capture the essence of the Hug House, showcasing its design principles. The imagery typically focuses on how light interacts with the spaces, the quality of materials, and the connection to the outdoors. The project is categorized under 'Houses' and is located in Australia, reflecting a contemporary Australian architectural style that prioritizes environmental responsiveness and comfortable living. In summary, the Hug House exemplifies a modern residential design that prioritizes a harmonious relationship between the built environment and nature. Its central courtyard, material choices, and indoor-outdoor flow are integral to its identity as a light-filled, airy, and deeply connected living space. The project represents a collaborative effort to deliver a dwelling that serves as a private retreat while maintaining an open and engaging atmosphere. #ResidentialArchitecture #Houses #Australia #FIGRArchitectureAndDesign #CourtyardHouse #IndoorOutdoorLiving #SustainableDesign #ModernArchitecture

The article details House Beautiful's seventh annual Whole Home project, which took place in the Blue Ridge Mountains of North Carolina, specifically an area between Asheville and Hendersonville. The location was chosen for its culinary scene, high brewery-per-capita ratio, proximity to the Biltmore Estate, vibrant art scene, and scenic views, as well as a local bakery famous for salty chocolate chip cookies. The 4,000-square-foot mountain contemporary home was built in partnership with Sean Sullivan of Living Stone Design + Build, named 2023 National Custom Home Builder of the Year, and Laura Sullivan of ID.ology Interiors & Design, along with 11 other design teams. The initial goal of the project was to celebrate vacation home living and promote downtime. However, the project took an unexpected turn on the final day of the team's visit when Hurricane Helene struck western North Carolina. The storm caused significant devastation to the region, including the River Arts District and Biltmore Village, resulting in power outages, loss of communication, and displacement. Although the House Beautiful team was safe, the widespread destruction prompted a shift in the project's mission. The focus moved from design inspiration to supporting the community's rebuilding efforts, highlighting the resilience of the local tradespeople and designers who continued their work despite personal losses. The article emphasizes the collaborative spirit of the project, acknowledging the extensive contributions of Sean and Laura Sullivan, Sarah Caldwell, Jill Jones, Chris Culler, Matthew Jones, Will Hewitt, and a person referred to as “Blackstone,” all of whom played crucial roles in the home's construction and design. Their dedication was particularly notable as many were directly impacted by the hurricane. The home itself is described as energy-efficient, located in the conservation-minded community of Sprout in Hendersonville. It features heating and cooling systems by Trane and window treatments by Hunter Douglas, which contribute to its energy efficiency. The exterior paint colors, Pantalon and Off-Black, are from Farrow & Ball. The article also lists various brand partners, including Architectural Grille, Fabricut, Feeney Railings, Fibreworks, Lee Industries, Minted, Monogram, Harlequin, Serena & Lily, Spoonflower, The Container Store, Visual Comfort & Co., and Wayfair Professional. House Beautiful also partnered with Wellness Within Your Walls, an organization dedicated to educating and guiding on reducing toxins in living environments, reflecting a commitment to meaningful and healthy design. The article concludes by encouraging readers to visit the region when it is ready, not only for its natural beauty and culinary delights but also to support its recovery. The full story of the home will be featured in the November/December 2024 issue of House Beautiful, which is scheduled to be released on November 26. #InteriorDesign #HomeTours #NorthCarolina #HurricaneHelene #SustainableDesign #HomeDecor #DesignPartnerships #CommunitySupport

Architect Christian Kerez designed and completed House Okamura in Prague 6, Czech Republic, near the Villa Müller museum. The building distinguishes itself from surrounding structures through its use of circular brick volumes, a traditional and almost archaic construction method. The entire structural form, including the interiors, is composed of bricks, eliminating the need for dividing walls within the individual rooms. This housing project is divided into three distinct apartments and is formed by 16 tangent cylinders, collectively featuring 39 rooms. A unique aspect of House Okamura is the visibility of each room's outline from the exterior, a consequence of the absence of traditional dividing walls. The layout of the rooms allows for dynamic shifts in position across different floors, meaning that rooms within the same vertical shaft can belong to separate owners. This varied and seemingly random placement of openings within each room contributes to a labyrinth-like spatial experience. The rooms themselves vary significantly in size, ranging from 4 square meters to 18 square meters, and in height, from 2.35 meters to 4.9 meters. Additionally, there are 19 interstitial spaces located between the circular rooms, bringing the total number of spaces to 58. All spaces within a single apartment are interconnected and open to each other, with apartment sizes varying between 90 square meters and 110 square meters. Kerez describes the arrangement as a space that opens inward, creating an impression of expansion despite physically limited boundaries, which is a direct outcome of the rigorous geometrical organization. The circular room configurations are not static but change from one level to the next. Only the circular rooms within House Okamura are equipped with doors for closure. These areas function as intermediate spaces and house the elevator, storage facilities, and sanitary areas. Kerez acknowledges that designing such a complex using the spatial concept of autonomous rooms aggregated into a sequence of spaces feels both radical and innovative. However, he notes that this concept, combined with the traditional brick construction method, proved easier to implement on site compared to designing orthogonal spaces. #ChristianKerez #HouseOkamura #PragueArchitecture #CircularDesign #BrickConstruction #LabyrinthineSpaces #ApartmentDesign #InnovativeArchitecture #SpatialConcept

In early 2020, Julie Chung and Kent Yu, cofounders of the hair-tool brand T3, and their three children faced increasing space constraints in their 4,000-square-foot Spanish-style home in the Pacific Palisades due to the pandemic's stay-at-home era. Despite having no initial plans to move, a nearby 11,000-square-foot spec house, previously deemed too large, began to look appealing. They purchased the newly completed property and enlisted interior designer Sierra Fox of Studio Mtn to personalize it and counteract its 'spec house' feel. The primary goal was to 'de-spec' the home and introduce warmth, as the house was originally painted entirely in white. Fox aimed to make the expansive spaces feel inviting rather than cavernous, addressing common issues with non-custom homes where certain areas might go unused. One significant change involved removing a prominent bar between two living spaces on the first floor, which, though central, did not align with the family's lifestyle. It was replaced with a piano, played by all three children. The formal living room was transformed with vintage Kagan sofas, providing comfortable seating that encouraged use, a departure from their previous home's rigid furniture. The design ethos was inspired by nature, but with a refined, old-world element, while maintaining practicality, ensuring the house wasn't a 'museum.' A standout feature is an 18-foot oak-leaf chandelier crafted by Cox London, conceived by Chung as a 'giant upside-down tree' in place of a traditional crystal foyer chandelier. This piece involved a nine-month design and construction process, including extensive sampling for leaf colors and a life-size paper mockup to ensure precise placement along the staircase. Attention to detail extended to more subtle elements, such as a faint hand-painted mural in the dining room, which took an artist three weeks to complete. This abstract and subtle mural reveals its depth upon closer inspection. Bathroom design was also crucial for the couple, given their background with T3. A previously all-white bathroom with black details was warmed up with brass fixtures, a vintage mirror, wallpaper, and a rose marble vanity. The office space, where Yu spends considerable time, was designed to be more engaging than just a desk and computer. The family's favorite spot, however, is the finished basement, which is not visible from the main living areas. Initially an empty white shell, it was transformed into a cozy library, wine cellar, and movie room. Inspired by a photo of a black bookcase, the space was designed with dark, chocolate brown tones, curved furniture, and rich textures. The basement also includes sofas that convert into twin-size beds, ideal for sleepovers. Chung initially had reservations about the dark color palette but was convinced once the wallpaper was installed, appreciating the distinct ambiance it created, making it feel like an escape within their own home. #HomeTour #InteriorDesign #LuxuryHome #PacificPalisades #Chandelier #CustomDesign #FamilyHome #SierraFox #SpecHouseRenovation

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 highlights the Armour-Stiner Octagon House in Irvington, NY, presenting it as a notable example of eccentric architecture and design. The author, Steven Heller, recommends visiting this historical site despite not having experienced it personally, based on the enthusiastic report of a trusted friend. The house, originally a simpler structure, was acquired in 1872 by Joseph Stiner, a prominent New York City tea merchant. Stiner transformed it into the present elaborate structure, intended as a whimsical summer retreat. His alterations included adding a dome and a veranda, creating a design that evokes a classical, intricately detailed ancient temple with vibrant colors and decorations. The unique octagonal shape of the house was inspired by the theories of Orson Squire Fowler, a phrenologist and amateur architect who authored "The Octagon House: A Home for All." Fowler's belief was that octagonal houses offered several advantages, including maximizing interior space, allowing constant sunlight exposure, and providing broader views of the surrounding landscape. This architectural style gained popularity in 19th-century America following the publication of Fowler's book, positioning the Armour-Stiner House within a specific genre of building design. The article further details the house's journey through preservation. In 1976, the house was acquired by the National Trust for Historic Preservation, marking it as the first house purchased by the Trust for conservation efforts. In 1978, it was sold to Joseph Pell Lombardi, a preservation architect renowned for his expertise in conservation, restoration, and historic preservation. Under the guidance of Lombardi's son, Michael Hall Lombardi, extensive restoration work has been carried out throughout the house. This includes the meticulous restoration of significant areas such as the Egyptian Revival Room, the basement, kitchen, greenhouse, and studio, alongside a substantial portion of its decorative surfaces. The Armour-Stiner Octagon House currently offers various tours, including limited-time seasonal options and its classic tour. Guided tours, lasting one hour, are available for booking online from April through December. For those seeking a more personalized experience, exclusive private tours can be arranged upon request, designed to provide a memorable and engaging experience for groups. Contact information for private tours via email and phone is provided for interested visitors. The house stands as a living testament to the ornamental period of the Gilded Age in American design history, showcasing a blend of classical influences, unique architectural theories, and dedicated preservation efforts. #Architecture #HistoricPreservation #OctagonHouse #GildedAgeDesign #NewYorkAttractions #JosephStiner #OrsonSquireFowler #VictorianDesign