Currier House

Chambrie Cottage, an adorable stone cottage dating back to the C.1800s, located at 88 Drumintee Road, Killeavy, Newry, has been successfully sold. The property is nestled at the foot of Slieve Gullion Forest Park, within the picturesque Ring of Gullion landscape, offering panoramic country views. It sits on a level site of approximately 1 acre and has undergone extensive modernization and extension over the years, carefully preserving its original character. The sympathetic restoration has achieved a seamless blend of contemporary living with traditional charm, reflecting the previous owner's distinctive design flair. The cottage offers deceptive accommodation, including an open-plan reception area, a living room with an open fireplace, and a versatile space that can serve as either a third bedroom or a dining room. It features two additional double bedrooms, a well-appointed bathroom, and a modern-style kitchen. The living room, measuring 2.9m x 5.6m, includes original lattice windows and a cast iron fireplace with a tiled inset and teak surround, complemented by a laminated wooden floor. The third bedroom/dining room, also 2.9m x 5.6m, shares similar features with original lattice windows, a cast iron fireplace, and laminated wooden flooring, and benefits from a gas connection leading to an external supply. The lounge room, a double-glazed link room measuring 3.8m x 3.2m, provides expansive views of the surrounding countryside, featuring a tiled floor and patio doors that open to a paved garden area. The modern kitchen, at 4.4m x 3.8m (at its widest point), boasts rich green shaker fitted units with white quartz worktops and brass handles. It is equipped with integrated AEG hob, an electric oven with an extractor fan, a Belfast sink, and an integrated dishwasher. Spotlighting illuminates the space, which is finished with an Amtico wood-design hard-wearing floor and a PVC half door leading to the side garden. Bedroom 1, a large double bedroom measuring 3.4m x 3.6m, offers a side view aspect and laminate wooden flooring. Bedroom 2, another spacious double bedroom at 3.4m x 3.5m, also has a side view aspect, laminate wooden flooring, and a built-in wardrobe. The bathroom, measuring 2.99m x 2.65m, features a four-piece Bayswater London W2 white suite, comprising a pedestal wash hand basin, a shower unit with a power shower, a low flush WC, and a free-standing bath unit with chrome accessories. It is finished with spotlighting, a tiled floor, and partially tiled walls with wooden panels. Externally, the property includes a detached outhouse with a WC and radiators, making it an ideal space for a home office. The gardens are extensive and magical, featuring both formal and informal areas, mature trees, hedging, and secluded patios. There is also a separate enclosed herb garden with raised beds and far-reaching country views. The property benefits from a gravel driveway, original stone wall boundaries, significant mature trees, and well-positioned outdoor lighting. There are two access points from the Dernaroy Road, providing ample parking. The cottage is conveniently located just 6 miles from Newry City Centre and within close proximity to the A1 Dual Carriageway, placing it on the Belfast-Dublin commuter corridor, approximately 50 minutes from both cities. Key features also include oil-fired central heating and the property's immediate availability prior to the sale being agreed. #ChambrieCottage #NewryProperty #StoneCottage #SlieveGullion #HomeRenovation #RealEstate #PropertySale #IrishCottage #ModernLiving

Doors serve as fundamental architectural elements, deeply embedded in language and psychology, facilitating the transition between spaces and defining boundaries between public and private realms. Historically, early European settlers in America utilized simple plank doors for protection from elements and intruders, a design known as board and batten. These early doors, including their hinges and hardware, were entirely wood-fabricated. While board and batten designs persisted in rural areas, residential architecture in more populous towns evolved through distinct styles such as Georgian, Federal, and Greek Revival between 1750 and 1840. These foundational styles shared a common architectural language, primarily drawing decorative elements from classical architecture. A notable feature, the raised-panel door, and a strict adherence to symmetry characterized these styles, despite variations and occasional overlaps. The advent of woodworking machinery in the 1830s revolutionized door manufacturing, leading to a wider selection of manufactured doors by the late 19th century. Both exterior and interior doors shared some design characteristics, though interior doors were typically thinner and initially utilized thumb latches rather than doorknob assemblies, remaining relatively thin until the 1840s. Technological advancements permitted greater embellishment, leading to more elaborate designs, particularly in the Greek Revival style. This style featured intricate molding designs, often nailed on, creating a layered panel-within-panel effect that could reach several inches in thickness. Victorians, known for their elaborate decorative tastes, further exploited machine-made door ornaments, leading to a proliferation of intricate door designs. Stained and etched glass emerged as Victorian innovations; initially, only the two upper panels were glazed, but by the 1880s, entire top halves of doors might feature leaded panes and patterned, colored stained glass. Despite the integration of traditional elements like fanlights, common in Georgian style, Victorians introduced intricate ironwork and brighter door colors. Later, a simpler, more modern yet almost medieval-looking design, the Arts & Crafts door, gained prominence at the turn of the 20th century. This style became a defining feature in bungalows, Foursquares, and Prairie School-inspired homes. Throughout history, door styles have continuously adapted, with material trends influenced significantly by cost. While wood remains a popular choice for its aesthetic appeal, insulated doors made of fiberglass and steel offer energy efficiency for entryways. Plastic and composite interior doors saw a boom in the early 2000s due to their perceived low maintenance and affordability. Despite radical changes in building technology, wood has consistently been the primary material for doors, even interior ones, owing to its superior thermal efficiency and dimensional stability compared to other materials. Wood's cellular structure acts as a natural insulator, proving significantly more efficient than steel. The sustainability of wood also appeals to environmentally conscious consumers. However, wood doors are not maintenance-free and require protection from constant exposure to full sun, often necessitating porches or hoods to preserve their finish. Expert craftsmanship emphasizes the satisfaction of transforming high-quality raw materials into durable and beautiful doors. Door security has also evolved dramatically. Robert Barron's 1778 patent for a double-acting tumbler lock marked an early serious attempt to enhance entrance door security. The Industrial Revolution in the 19th century spurred the production of metal and metal parts, leading to more secure locks. Even after World War I, some communities still relied on door shakers to ensure home security. While innovations like Marie Van Brittan Brown’s 1960s invention of the video monitoring and remote door operating system have modernized security, the basic principles of door locks endure. Today, 21 types of locks, from padlocks to deadbolts, serve various purposes, with materials and designs continually evolving for greater streamlining. The door's journey from a basic barrier to a complex, multi-functional element reflects ongoing human innovation, enriching daily life in countless ways. #DoorDesign #ArchitecturalHistory #HomeInteriors #BuildingMaterials #HomeSecurity #Woodcraft #VictorianArchitecture #ArtsAndCrafts #Sustainability

This article highlights the interior design and garden renovation of a historic Tudor Revival home in Westhampton, owned by Christine and David Cottrell. The 8,000-square-foot house, built in 1924 and designed by architect William C. Noland, is situated on prime real estate overlooking the 18th green of the Country Club of Virginia. The Cottrells, who are the third owners since 1997, sought to preserve the home's historical integrity while updating its interiors and gardens to suit their lifestyle and entertaining needs. Interior designer Todd Yoggy was tasked with respecting the home's architecture, which features a combination of brick and half-timbering, a slate roof, and massive chimneys. Before the Cottrells moved in, a kitchen renovation was undertaken, removing walls from the old servant's quarters to create a more open space. Artist Philippe Faraut redesigned the kitchen and also created two hand-carved mantels for the living and dining rooms. Yoggy collaborated closely with the Cottrells to design interiors that complemented the historic structure, ensuring that the spaces were livable and reflective of the owners' personalities rather than appearing as museum exhibits. The Cottrells frequently host parties, a factor that influenced the design of the elegant living and dining rooms. The sunroom was transformed into a family room for their teenage daughter, Leah. The home's two-level entry maintains its original sconces, woodwork, beamed ceiling, and a hand-carved newel post. A custom-made rug from Woodward Grosvenor in England, inspired by carpets from the Rockefeller estate Kykuit, extends through the landings and stair runner, harmonizing with the existing colors of the house. The living room is anchored by a custom back-to-back sofa by George Smith furniture and features multiple seating areas. A large 1849 Persian carpet serves as the color inspiration for the room's rich, jewel-tone palette, having been a housewarming gift from the previous owner. The antique Steinway grand piano is a central feature for entertainment. The dining room, with its warm red color scheme, includes claret drapery panels and a custom Regency rug in a medallion pattern with red and plum shades. Custom George Smith, Regency-style chairs upholstered in rich red leather surround an antique table. Christine Cottrell's porcelain and silver collection is displayed in the breakfront, while a late-18th-century Irish cut-crystal chandelier hangs from a ceiling adorned with hand-molded plaster medallions in a Gothic tracery pattern. David's office on the upper level resembles an exclusive men's club, with camel hair walls and drapery, a pony-skin sofa, and Conley leather chairs. Dragon light fixtures from Christie's and an ocelot-print rug add a unique touch, complemented by military photographs, sportscar memorabilia, and images of Steve McQueen reflecting David's interests. The master bedroom continues the traditional aesthetic with Ralph Lauren's "1,000 Roses" wallpaper, featuring 10 shades of blue echoed in the velvet draperies and rugs, tempered by white bedding. The home's exterior also received significant attention. Although Charles Gillette designed the landscape plan in the 1920s, it was only executed after the Cottrells purchased the property. These plans are now the oldest Gillette plans held by the Virginia Historical Society. A salvaged reflecting pool from the Virginia Governor’s Mansion serves as a focal point in the side garden, featuring a bronze sculpture of the Cottrells' daughter by artist Faraut. The original wooden deck at the back of the house was replaced with bluestone terraces atop reclaimed granite blocks with limestone balustrades, providing a more fitting and elegant outdoor entertaining space with views of the 18th fairway and Huguenot Bridge. This project, representing the fourth home Yoggy designed for the Cottrells, emphasizes a long-term approach to design, focusing on custom-made, antique, and original pieces to create timeless interiors that complement the home's architecture. #TudorRevival #HistoricHome #InteriorDesign #GardenRenovation #WesthamptonEstate #ToddYoggy #CustomFurniture #ArchitecturalPreservation

Chardin Hall at Seattle University provides housing for approximately 140 second-year students. Located on the south side of campus, adjacent to Campion Hall, this residence hall offers four-person suites, each featuring a private bathroom. Beyond typical living arrangements, Chardin Hall emphasizes a holistic student experience, integrating programming focused on service, social justice, and leadership development into residential life. The hall is well-equipped with academic and recreational facilities designed to support student success and well-being. Residents have access to a multimedia education center, which includes a computer lab, study lounge, and private study rooms. Additionally, each floor is furnished with student lounges and full kitchens, promoting community interaction and convenience. The building offers a range of amenities and services, such as a community kitchen, laundry room, and wireless internet access throughout the building. For leisure and social gatherings, there is a large-screen TV lounge, and recreational equipment is available for checkout at the front desk. Academic support is further enhanced by academic classroom spaces within the hall. Accommodation options in Chardin Hall primarily consist of two room types: two-person rooms and four-person rooms. Two-person rooms are approximately 243 square feet and include a private bathroom. These rooms are furnished with a bed and mattress, desk and chair, wardrobe, shelving, a sink, and a MicroFridge unit (combining a microwave and mini-fridge). Internet connectivity, both wired and wireless, and phone capabilities are also provided. Four-person rooms are larger, spanning about 585 square feet, and are configured as adjoining doubles that share a private bathroom. The furnishings in four-person rooms are similar to those in two-person rooms, providing individual beds, desks, chairs, wardrobes, shelving, sinks, and MicroFridges for each resident. The specific configuration and placement of furniture may vary between these larger rooms. Detailed furniture dimensions are provided to assist students with planning their living space. A standard bed measures 85 inches wide by 38 inches deep by 30 inches high, with the bed deck adjustable in three-inch increments, allowing for minimum heights of 2.895 inches and maximum heights of 30.790 inches from the finished floor to the top of the bed deck rail. The wardrobe dimensions are 41 inches wide by 24.75 inches deep by 74 inches high, with drawer interiors of 17 inches wide by 21 inches deep by 5.25 inches high and hanging spaces of 19.25 inches wide by 23 inches deep by 52.25 inches high. Desks are 42 inches wide by 38 inches deep by 30 inches high, featuring box drawer interiors of 12.25 inches wide by 18.75 inches deep by 3.25 inches high and a file drawer interior of 12.25 inches wide by 18.75 inches deep by 8.75 inches high. A downloadable PDF provides further details on these furniture dimensions. Beyond the physical infrastructure, Chardin Hall provides a supportive community environment through its staffing structure. Most floors benefit from the presence of a Jesuit in Residence, a member of the Seattle University Jesuit community. These individuals serve as a resource for advising, counseling, conflict resolution, or simply as a listening ear for students. Complementing this, a Residential Minister also lives within the hall, focusing on fostering pastoral care for students and staff, collaborating with Jesuits in Residence, Residence Hall Directors, Resident Assistants (RAs), and Campus Ministry staff. Essential services at the Chardin Front Desk include room lockout assistance, mailboxes and package notifications, lost and found services, and checkout for vacuums and carts. All utilities, including electricity, heat, water, sewer, compost, recycling, and trash, are included in the housing rates. #StudentHousing #UniversityLife #ResidenceHall #SeattleUniversity #StudentAmenities #CommunityLiving #JesuitEducation #RoomLayouts #CampusFacilities