I Spent 5 Years Painstakingly Restoring My 1850s Victorian

When considering purchasing an existing home in Australia, prospective buyers are likely to encounter a diverse range of architectural styles. Rather than demolishing and rebuilding, a compelling alternative is to restore a period home, bringing it back to its original splendor. Before embarking on any renovation project, it is crucial to determine if the property is heritage-listed and to carefully consider any proposed changes to its existing elements. Preserving the traditional architectural features of a home not only maintains its distinctive character but can also help manage the scope of work and budget. A fundamental principle in sensitive renovation is to avoid demolishing architectural history. Interior designer and design educator Annalisa Capurro emphasizes that mistakes often occur when individuals adhere strictly to current trends without showing proper respect for the home's architectural style. She notes the tragedy of well-designed, structurally sound, and functional buildings being torn down simply because they are no longer deemed fashionable. Revitalizing a classic building and adapting it for contemporary use is environmentally sound and shows respect for its historical significance. Thorough research is a critical first step for any restoration project. Understanding the era in which the home was built provides crucial context, revealing original design intentions regarding light, layout, and functionality. Many homes accumulate layers of renovations from different periods. Annalisa suggests starting with local councils, libraries, or historical societies to research the property's Development Application (DA) history, which details council-approved renovations and original designers. When restoring a historic property, the ideal approach is to utilize original features from the same era. Master Builder Gregg Jowett of Heroes Maintenance & Building points out that items like ornate Federation cornices, old fireplaces, doors, door handles, and window frames can often be found at second-hand timber yards, although they can be costly. For preserving existing cornices and ceiling roses, plaster companies can provide matching designs and materials. Additionally, timber yards can create new molds by accurately cutting grooves from historical moldings. Authenticity is paramount in restoration; avoid creating fake elements. While restoring original parts is encouraged, constructing an extension in the exact style of the original home with ersatz plaster ceiling roses is not recommended. Replicating old design techniques authentically is challenging, and inauthentic additions can detract from the building's historical integrity. Capurro strongly advises against "mock, faux anything," stating that new work pretending to be old or original to "match" the existing structure ultimately appears fake and hinders the understanding of the building's history. The goal is to achieve a harmonious blend of old and new, demonstrating respect for the existing structure while embracing contemporary design. Capurro emphasizes that "good design is always of its time" and that new work should respect the old but remain contemporary. The most successful renovations integrate old and new elements through consistent scale, color, and materials. For mid-century homes, it's crucial to avoid over-extending. These homes often feature abundant natural light, privacy, clear separation between living and sleeping areas, open-plan layouts, and strong outdoor connections, which are highly compatible with modern living. Overly substantial or unsympathetic additions can compromise a mid-century home's original design integrity and devalue it. Finally, seeking professional advice is recommended to prevent wasted time or money on DIY efforts. When hiring a builder for a restorative renovation, it is advisable to request before-and-after photographs of similar past projects, as experienced builders in this specialized area will typically have such portfolios to demonstrate their expertise. #HeritageHomes #HomeRestoration #RenovationTips #ArchitecturalStyles #HistoricPreservation #HomeDesign #Renovating #InteriorDesign #BuildingRestoration

This article explores the renovation philosophy of designer Mark Lewis, who prioritizes respecting the existing architecture and age of a property rather than striving for a new, shiny aesthetic. Lewis, who founded his eponymous firm in 2008 and later launched a home store specializing in sand-cast bronze hardware, emphasizes the difficulty of finding finishes that appear aged, leading him to create his own. His guiding principle is to avoid anything that "screams 'shiny.'" The renovation of Lewis's Victorian row home in North London exemplifies this approach. In 2010, he and his partner, Abi Leland, began by purchasing the garden-level apartment and patiently waited five years to acquire the unit above, recognizing its value for their expansion plans. An extensive eight-month remodel followed, during which they moved out with their two children, James and Olive. The renovation involved integrating the two apartments, creating a striking double-height space with triptych windows overlooking the backyard. A distinctive feature of Lewis's design is the absence of a kitchen island and upper cabinets. His goal is for the kitchen to appear as freestanding as possible, as if it could be moved. To align with the house's historical era, he installed base cabinets along a single wall, extending approximately 8 meters, and mounted floating shelves precisely 55 centimeters from the countertop. These base cabinets are finished with an aged paint effect and feature hand-cast bronze cup handles. The kitchen space also incorporates functional elements like task lighting under concrete slabs, providing a soft glow, and a separate walk-in pantry designed to evoke a sense of stepping back 70 years, filled with fresh produce and minimal packaging. The living room reflects Lewis's aversion to modern technology, specifically televisions. Instead of a "black box," the cozy space features a wood-burning stove. For family movie nights or sports viewing, they utilize his son James's bedroom, which houses a large television. Olive's smaller room necessitated creative storage solutions, leading Lewis to design a custom built-in bunk bed with drawers that fits seamlessly into an alcove, topped with a slightly undersized twin mattress. The bedrooms are adorned with wallpapers from Robert Kime and painted in shades like Little Greene's French Grey and Normandy Grey, with furniture and accessories from Mark Lewis Home Store and Conran Shop. Lewis's favorite part of the house is the primary bathroom, which includes a fireplace to ensure warmth after using the cast-iron tub. He sourced the Art Nouveau-style mantel from a salvage shop, a significant investment at the time that he now cherishes. A vintage French chair in the corner has been updated with a brightly colored felt cushion by artist Laura Lees. Lewis demonstrates a keen eye for finding vintage pieces, with blackened steel stair railings held by antique brass screws and a powder bathroom that combines reclaimed tiles, the home's original brick, and wood from a previous kitchen floor, resulting in a unique blend of textures that appear to have been part of the house for centuries. His design ethos consistently aims to imbue new elements with an appearance of age and history, respecting the inherent character of the property. #HomeRenovation #VintageDesign #InteriorDesign #VictorianHome #AgedFinishes #KitchenDesign #BathroomDesign #CustomFurniture #NorthLondon

The article details the extensive two-and-a-half-year renovation of a 150-year-old Victorian mansion in West Highland, Denver, undertaken by Jan and Steve Davis. This historic property, originally built in 1875 by Ambrose Bosler, had suffered years of neglect, resulting in a damaged roof, warped foundation, and various structural issues. The city of Denver had even initiated foreclosure proceedings in 2015 due to significant liens. The Davises, particularly Jan, recognized the colossal nature of the project but trusted Steve's expertise as a contractor. Despite having recently completed renovations on a smaller bungalow intended as their forever home, the couple was compelled to purchase the mansion due to a city requirement that the new owners reside on the property. The renovation project faced considerable challenges due to the mansion's status as both a Denver and National Historic Landmark. This designation mandated a rigorous design and construction approval process. The Davises meticulously referenced old photographs to ensure historical accuracy in their restoration efforts. They replaced all the wood trim, painted every piece of molding, and sourced era-appropriate furnishings from antique stores. Architect Jessica Reske guided the reconstruction of the home's distinctive brick tower, which had been removed decades prior, offering panoramic views from Pikes Peak to the Flatirons. Architectural elements, such as the exterior molding and iron detailing, were carefully replicated with the help of Tabor Millwork and Architectural Iron Company. Inside, the home’s layout was reconfigured to include an elevator, a request from Jan to facilitate aging in place. The original window openings, protected by the landmark status, dictated the placement of new features, such as custom vanities in the main bathroom and the kitchen sink within an island due to low window sills. Many interior upgrades drew inspiration from the home's original design: new interior doors were modeled after the single surviving original door, antique chandeliers and sconces from Bonnie Brae Lighting & Repair mirrored period fixtures, and a walnut-and-ash inset in the white-oak entryway floor replicated the original. This approach aimed to blend modern functionality with historical character, making the house feel both new and inherently old. To address the challenge of making the cavernous rooms with 12-foot ceilings feel inviting, Jan enlisted Amy McCawley of Lusso Interior Design. McCawley introduced contemporary touches, including Benjamin Moore’s gray-green Croquet paint on the kitchen cabinets and a sleek marble fireplace in the living room. Antique-looking hardware and family heirlooms, such as a gold mirror and a chest, further integrated the home's historical and contemporary aesthetics. In the main bedroom, a blend of new furniture like a Pottery Barn bed and Benjamin Moore’s Graytint paint color harmonized with family antiques, such as a blue chair from Steve's grandmother and an antique side table. Similarly, an heirloom carved-wood lamp, once part of Steve’s childhood home, found a new place in the living room. Outside, Jan, a Colorado State University-certified master gardener, transformed the expansive front yard into a lush green space. She designed a potager garden near the kitchen and a wild, organic English garden filled with agastache, peonies, cardoons, and salvias, providing natural privacy. Laurel Raines of Dig Studio planned the garden and the hardscape, which included a patio and dining area off the kitchen and a walkway of Borgert stone pavers. Perimeter hedges were planted to further enhance privacy from the street. The Davises' overarching philosophy throughout the project was to “do the right thing for the house,” a principle that ultimately benefited them as well, creating a harmonious blend of historical preservation and modern living within a revitalized landmark. #HistoricRestoration #VictorianMansion #HomeRenovation #InteriorDesign #LandscapeDesign #ArchitecturalPreservation #DenverRealEstate #WestHighland

Zen Architects, a Melbourne-based firm with 30 years of experience combining science and art in sustainably minded projects, undertook a comprehensive renovation of an early 1900s Victorian home in Brunswick. The property, untouched for five decades and slated for demolition due to asbestos, was purchased by clients who sought an architect willing to execute a challenging renovation emphasizing local materials, recycled timber, and space for an art studio. The clients desired a design that respected the original cottage's form and detailing, diverging from the prevalent trend of demolishing Victorians for new, often insensitive, developments in an area without historic controls. The project spanned nearly three years, including 18 months of design and documentation and 14 months of construction. The initial phase focused on preserving the original structure. This involved restoring the weatherboard exterior, original Baltic pine timber flooring, and Victorian details. The interior plaster was removed, walls were reinsulated, and windows reglazed. The eastern portion of the roofline was raised to accommodate higher ceilings. To maintain the property's heritage value, all new construction was set back behind the original chimney line. The design team reconfigured the front four rooms: two became bedrooms, one a bathroom, and the fourth a front living room featuring a wood-burning fireplace that utilized the existing chimney. From the light-filled foyer, residents can now access the kitchen, a double-height dining room, and a sunken conversation pit, all offering views of the garden. Throughout the renovation, Zen Architects prioritized local sourcing. Custom lighting was crafted from solid brass, and internal recycled timber details, such as shelving, were produced by local furniture makers. The bathrooms feature custom handmade tiles from a South Melbourne ceramicist, and all fixtures and fittings were also locally sourced. The kitchen incorporates a solid concrete island counter designed for passive heating and cooling; it warms naturally in the summer, and a concealed black heat panel beneath the slab absorbs and releases heat in the winter. An adjacent art studio benefits from ambient diffused south-facing light, providing an ideal space for various artistic pursuits. This project demonstrates a successful approach to sensitively transforming Victorian homes to meet contemporary living standards while adhering to principles of sustainability and local craftsmanship. #VictorianRenovation #SustainableDesign #ZenArchitects #MelbourneArchitecture #HistoricPreservation #RecycledMaterials #LocalCraftsmanship #HomeRetrofit #ArtStudio

In a world increasingly dominated by fast construction and modern conveniences, many new homes often lack the unique character and soul found in older, period homes. These historic residences, ranging from grand Victorian houses with intricate gingerbread trim to charming brick abodes and brownstones, often come with a rich history and a distinctive charm that modern builds struggle to replicate. While these older homes may require significant renovation, not every space necessitates a complete overhaul. Interior designers emphasize the importance of preserving certain original features to maintain the home's authenticity and historical integrity, even when updating it for contemporary living. According to interior designer Phillip Thomas, old homes possess an inherent authenticity, having endured through generations and been cherished by various families. He views working on such properties as a rewarding challenge, often involving peeling back layers of past renovations to restore the house to its original glory while preparing it for its next chapter. Allison Babcock, another interior designer, shares this sentiment, appreciating the character and patina that handcrafted elements from a bygone era bring to a home. She notes that while modern products offer efficiency, they rarely match the unique character of older components, making preservation a worthwhile endeavor. One of the primary features designers recommend preserving is the original wood flooring. Thomas explains that wood in older homes was typically harvested from old-growth trees, resulting in denser material with more interesting grain patterns and superior strength to withstand daily wear. This contrasts sharply with modern flooring, which often comes from younger, softer wood with less distinct grain. Similarly, antique ceiling beams, particularly those made of solid, old-growth wood, are crucial for both structural integrity and aesthetic appeal. Babcock highlights their handcrafted nature and the stories they tell through their aged patina, suggesting that a natural, raw finish is ideal. Doors are another element worth saving. Older homes often feature solid wood doors, a stark contrast to many contemporary doors made with veneers over plywood or Masonite. Even if the doors themselves cannot be salvaged, their hardware often can be. Thomas considers door hardware a critical detail, noting that vintage pieces are often unique and can be refurbished for less than the cost of new, generic hardware. Clawfoot cast iron tubs are also highly valued for their vintage charm and superior heat retention compared to modern soaking tubs, making restoration a preferable option. Railings in old homes, often overlooked, frequently boast rich carvings that are difficult and expensive to replicate today. Thomas collaborates with artisans to meticulously restore these railings, removing layers of paint and dirt to reveal their original beauty. Lastly, radiator grilles and registers, common in older homes, are often intricate brass works of art. Restoring these unique components can add a distinctive touch, differentiating them from mass-produced modern alternatives. Preserving these elements helps retain the historical essence and charm that define an old home. #HomeRenovation #HistoricHomes #InteriorDesign #Preservation #VintageDecor #ArchitecturalDetails #DesignerTips #CharacterHome

New England's extensive collection of aged housing stock often presents a complex history within its structures. While some homes clearly showcase their original character through well-preserved elements like floorboards and bannisters, many others have undergone numerous alterations over the decades, leading to a significant divergence from their initial design. This article explores the growing trend of restoring historic homes, emphasizing how owners can revitalize lost character while simultaneously integrating modern functionalities. Walter Beebe-Center, president of Essex Restoration, highlights that nearly every historic home has experienced remodeling, often resulting in the removal of beautiful original features and the addition of elements that are out of context. For new owners of these properties, this means their homes may lack much of their early aesthetic appeal due to generations of updates. The process of restoration offers an opportunity to bring back the home's authentic character, whether aiming for museum-quality accuracy or simply reintroducing nostalgic touches, all while making the space suitable for contemporary living. Sara Berndt, a homeowner in West Medford, exemplifies this approach. Over three years, she meticulously uncovered the original layers of her folk Victorian home, dating back to at least 1910. Her primary motivation was not to impose a new style but to restore the house to its original state, thus preserving its legacy. This often involves undoing previous, sometimes improper, renovations that may have diminished the home's historic integrity. Nathan Goodwin, a historic preservation carpenter, underscores the importance of thorough research into a home's original appearance. He notes that many quick-flip renovations often neglect the thoughtful process required for historic restoration, leading to hastily assembled modifications. Goodwin advises homeowners to delve into the historical context of their homes, understanding why they were built in a particular way. Peter Smith, who directs North Bennet Street School's preservation carpentry program, describes the process as "forensic carpentry." He explains that most people are not trained to properly assess historic homes, often mistakenly viewing them as tear-downs. Smith emphasizes the need to understand the built environment by carefully peeling back layers to read the historic fabric, connecting tangible history with academic knowledge. While authenticity is crucial, Beebe-Center points out that not every original feature will be relevant to modern life. He suggests a balanced approach where historic aesthetics are blended with modern practical functions. This might involve opening up a small, historically accurate kitchen to create a more functional space, while preserving a formal parlor. The goal is to make harmonious changes that allow the house to be functional in the 21st century without sacrificing its aesthetic integrity. The restoration process can be time-consuming due to the need for period-appropriate materials and traditional methods, which contrasts with the often-misleading timelines presented in modern renovation shows. Smith, for instance, sources lumber from local mills for historic timber frame construction, a practice that requires more patience than using materials from big-box stores. Specialists like Goodwin are in high demand, with long booking times, underscoring the scarcity of skilled historic restoration professionals. Projects can range from strict historic preservation to a combination of restoration and modern renovation. Defining the specific historical period to be referenced is key to establishing a cohesive philosophy for refurbishment. Resources such as old photographs, neighborhood tours, and even remnants like wallpaper scraps can provide valuable clues about a home's original colors and architectural details. For those daunted by a full-scale restoration, experts recommend starting small, perhaps focusing on two rooms or the facade. Prioritizing details like moldings, door casings, and window trim can significantly enhance a home's historic quality. Windows, often overlooked, are critical style indicators; well-maintained 100-year-old windows can last another century if properly restored, proving more durable than many modern replacements. Additionally, salvaging period-appropriate fixtures and fittings from places like The Old House Parts Company can provide simple yet impactful ways to restore historic character to a home. #HistoricHomeRestoration #HomeImprovement #NewEnglandArchitecture #PreservationCarpentry #HistoricRenovation #ArchitecturalDetails #RealEstate #OldHouseParts

Maintaining the original finish on antique furniture is crucial for preserving its value, as advised by Karen Keane, CEO of Skinner Inc. Many antique pieces have been inadvertently damaged by owners attempting to "improve" their appearance through repainting, touching up, lacquering, oiling, or sanding. Keane emphasizes that the finish significantly impacts an antique's worth. For painted antique furniture, collectors prioritize items that retain their original appearance. Eighteenth-century pine country furniture, for instance, was often painted in vibrant colors like blue or barn red. Over time, these paints oxidize and fade, developing a desirable mellow, "dry" look. This natural aging process, known as craquelure, where paint begins to crack, is acceptable and even preferred by collectors as it indicates originality. However, owners should be wary of uniform craquelure, which can signify forgery. Applying modern lacquered finishes to originally painted pieces is generally disliked by collectors. Stained antique furniture also requires careful preservation. Historically, American furniture made from domestic woods like maple or cherry was stained to mimic mahogany. A common mistake is oiling stained wood, which Keane strongly advises against. Oil penetrates the wood grain, oxidizes, and can cause the wood to blacken, as observed in her own kitchen floor treated with Murphy Oil Soap. Instead, solid waxes—such as paste wax, butcher's wax, or French polish—are recommended. These waxes, typically containing beeswax, create a protective surface and can be easily removed, a quality valued by conservators. Liquid waxes should be avoided due to their potential inclusion of damaging oils. For antique pieces that have already been stripped, varnished, or oiled, owners have the option to leave them as they are or have them professionally restored to their original state. However, restoration of a damaged piece typically does not increase its market value. The trade market frequently encounters compromised pieces. Keane notes that owning a piece not in its original condition can alleviate concerns about further damage. She cites her own Victorian drop-leaf dining table, which was stripped of its original finish, as an example. She purchased it at a lower price and feels less stressed about potential wear and tear, occasionally waxing it but not overly worrying about spills or damage. #AntiqueFurniture #FurnitureRestoration #PreservationTips #HomeDecoration #AntiqueAppraisal #WoodFinishing #InteriorDesign #Collectibles #VintageHome

Antoinette Allande Interiors, a luxury residential design studio based in Hoboken, executed a significant home renovation in Montclair, New Jersey. The project involved transforming a 19th-century house, built in 1902 and located at 191 Christopher Street, into a modern yet traditional living space for a young family. The property spans 3,174 square feet and originally featured three bedrooms and two bathrooms. The clients, Amy and Tristan Morel L’Horset, are a family with three young boys and a history of international travel. Amy works as a registered dietitian and nutrition professor, while Tristan is a senior managing director at a global service and consulting company. Their brief to Antoinette Allande was to update their traditional home with a fresh perspective, prioritizing beautiful aesthetics alongside practical, comfortable living. They required durable furnishings that were not overly delicate and could seamlessly integrate with their existing collection of French antiques. The home's original formal and ornate exterior and interior architecture necessitated a design approach that respected its historical integrity. Antoinette Allande's design philosophy for this project was coined "Eclectic Traditional with a touch of Whimsy." This approach allowed her to blend modern furnishings with the historical architectural details, incorporating elements of the clients' whimsical preferences. Key design choices included a large, comfortable family room sectional, intended for family time and movie nights. The dining area features vintage pieces—a table, chairs, and a chandelier—acquired by the clients while living in France. These ornate, classical French furnishings were complemented by rich jewel-toned textiles, contrasting with lighter architectural finishes. A contemporary hand-knotted rug from Rejuvenation and antique French chairs re-upholstered in sapphire blue velvet further enhance the eclectic mix. The home's walls are painted in Benjamin Moore’s Moonshine 0C-56, while trim and other white areas utilize Benjamin Moore’s Chantilly Lace OC-65. The entry hall is designed to make a strong first impression, incorporating vibrant colors and patterns to reflect the clients' personality and create a welcoming atmosphere. This space features a commissioned Moroccan carpet, a family tree display, a Mokum by Katherine Martin wallpaper from Holly Hunt New York, an antique British Colonial entry table, an Indian block-printed tablecloth by Roberta Roller Rabbit, a Kelly Wearstler light fixture from Circa Lighting, a CB2 cabinet, and an Arteriors Home table lamp, all contributing to a playful and youthful aesthetic. In the living and dining areas, original built-in cabinetry and millwork were preserved and enhanced by whitewashing dark beams, the fireplace, and paneling. This technique was employed to create a lighter, airier feel, drawing inspiration from early 20th-century designer Elsie de Wolf, known for transforming dark interiors with white and light colors. The project remained within budget and on schedule despite the challenges posed by the pandemic. The property itself is a Dutch Colonial Revival style home, recognized for its ornate period details, symmetrical design, Ionic columns, white painted exterior, dormer windows with curved head sash detail, and black shutters, situated in Montclair's historic Marlboro Park area. Collaborators on the project included Franklin Nunez for painting, Orlando Silva of Golden Wallpaper for wallpaper installation, Ryan M. Brown Photography for documentation, and Brett Fixes for home improvements. Antoinette Allande Interiors operates from Hoboken, offering various design services including renovations, decorating, and art consulting, known for combining vintage and modern elements with contemporary art to achieve relaxed, layered, and eclectic interiors. #MontclairHomeMakeover #InteriorDesign #HomeRenovation #AntoinetteAllandeInteriors #EclecticTraditional #LuxuryResidentialDesign #DutchColonialRevival #VintageModernMix #HistoricalPreservation

This article details the comprehensive renovation of a 120-year-old historic carriage house on New York's Long Island by its new owner, Jamie Morgan, founder of Blake & Dane interior design studio. The property, originally part of a French Beaux-Arts style estate, presented a unique challenge: preserving its historical essence while adapting it for modern family living. Morgan and her husband, Chris, were drawn to the house's character and history, including its 12-foot ceilings, a 30-40 foot entryway cupola, and visible remnants of its past use, such as where hay entered and the original horse doors. The core objective of the renovation was to enhance these historical attributes without compromising contemporary comforts. The kitchen, initially a challenging long, narrow galley layout, was transformed into an intimate family space. A large kitchen island with seating on both sides was introduced to serve as a central gathering point for meals and entertaining. The high 12-foot ceilings, which could have posed a design constraint for cabinetry, were ingeniously addressed by integrating a library ladder and brass rail system, turning a potential problem into a distinctive feature. White kitchen cabinets with dark stone countertops and Signature Hardware pulls were used, with upper glass cabinets skinned in white oak, contributing to a tailored aesthetic. A custom-designed plaster cooker hood and Arabescato Antico marble backsplash further elevated the kitchen's traditional yet modern appeal. The dining room highlights many of the carriage house's original features, including warm-toned ceiling beams from its days as an outhouse. Railings around the stairs and raised floor spaces subtly nod to the former stalls and stables. To visually break up the open-plan living and dining area and add sophistication, elegant moldings and wainscoting were newly introduced. A custom black ash dining table paired with upholstered dining chairs from Arhaus ensures a sleek, contemporary look that harmonizes with the historic backdrop. An arched doorway off the kitchen leads to a butler's pantry, distinguished by its deep green/teal subway tile color scheme. This space provides practical storage with light oak cabinetry and dark wood open shelves, and serves as an additional food preparation area, compensating for the galley kitchen's smaller footprint. The home office masterfully combines old and new elements, featuring an original window alongside a newly installed white oak coffered ceiling. This traditional framework is juxtaposed with contemporary office furniture, including a streamlined desk and striking red chairs, and a Phillip Jeffries' Burled Chevron Carob wallcovering. The design ensures privacy while maintaining an open, airy feel, allowing the office to overlook the living space. The primary bedroom exudes a traditional ambiance with bespoke millwork creating a fitted look around the Arhaus bedframe. Benjamin Moore's Misty Gray on the walls and millwork offers a cool, restful atmosphere, complemented by colorful Milan bedding from Annie Selke, a large arched floor-standing mirror, and a white area rug. The primary bathroom was designed for luxury, incorporating Carrera marble tiles, Waterworks fixtures, and an Aerin Bonnington Chandelier. The layout specifically frames a freestanding bath beneath a window, with watery blue walls adding a shimmering effect. The overall renovation strategy prioritized preserving the home's unique character while upgrading amenities and adjusting the layout to suit modern family needs, resulting in a successful blend of historical charm and contemporary functionality. #InteriorDesign #HistoricRenovation #CarriageHouse #HomeTour #KitchenDesign #DiningRoom #HomeOffice #BedroomDesign #BathroomDesign

James Mercer, the singer-songwriter for The Shins, and his wife, garden designer Marisa Kula Mercer, enlisted designer Jessica Helgerson to refresh their 130-year-old Queen Anne Victorian home in Portland, Oregon. The Mercers sought to update their home for modern living while preserving its historical integrity and original charm. Their property, a former hazelnut orchard spanning nearly an acre, features 300-year-old Douglas fir trees and gardens designed by Marisa, who draws inspiration from English gardens like Great Dixter House & Gardens. The remodel, which spanned 12 years, focused on incremental changes rather than a complete overhaul. The initial challenge involved redesigning the kitchen. Helgerson's team enlarged the space by absorbing a former screened porch, ensuring it remained proportionally aligned with Victorian-era kitchens. The design incorporated antique light fixtures, cream-colored wall tiles, and a Lacanche range set within a niche, evoking the feel of an old hearth. The kitchen island was designed on legs, resembling a case piece, to maintain appropriate scale. One significant alteration was dividing the voluminous primary suite to create a dedicated dressing room. This new space features a Calacatta Viola marble-topped vanity and recessed paneling with decorative elements, aligning with the Victorian emphasis on ornamentation. The family also sought to improve the home's connection to the outdoors, a feature largely absent in the original layout. Helgerson designed a karaoke room, addressing its previously erratic ceiling structure. She employed an architectural solution by painting a green crown molding in a clean, rectangular shape to define the space and manage the 'wandering' ceiling. A custom built-in sofa with a deep cushion and a tiled window sill serving as a conservatory for houseplants were incorporated into this room, providing both comfort and functionality. James Mercer also contributed personal DIY touches to the home. He used rope to level floorboards in the former horse stable, now a music studio, and constructed Marisa's garden shed based on a vintage Sears catalog image. A distinctive, quirky detail includes plastic spiders hot-glued to ceiling medallions and painted over, creating the illusion of being permanently trapped. The overall design philosophy aimed to blend modern functionality with the inherent character of the historic Queen Anne style, maintaining the home's original nicks and scratches as part of its charm. #HomeRenovation #VictorianArchitecture #InteriorDesign #QueenAnneStyle #HistoricPreservation #GardenDesign #KitchenRemodel #PortlandHomes #CelebrityHomes

This article details the experiences and insights of Hara and James Perkins as they undertook the restoration of their 1970s Horace Gifford-designed home on Fire Island. The couple, with James being a sculpture artist and Hara a commercial real-estate law firm partner, embarked on a mission to revive the architectural integrity of their summer residence. The restoration involved meticulous work, including poring over decades-old blueprints, physically removing built-in structures, and addressing complex original wiring systems. James, a self-proclaimed 'Porsche guy,' likens the house to a classic car, emphasizing its inherent quality and the need for careful maintenance rather than complete overhaul, stating, "It’s this solid thing that was beautifully done the first time. You just need to change the oil and get some new tires." The article serves as a guide for other novice home restorers, offering key pieces of advice gleaned from their year-long project. The first piece of advice shared by the Perkins is the importance of prioritizing and setting a budget, not just financially, but also mentally and emotionally. They stress that in the current climate of working from home and homeschooling, it is crucial to manage expectations and understand that not every issue can or needs to be fixed immediately. The process should align with the family's overall well-being, acknowledging that there will always be ongoing tasks in home maintenance and improvement. Secondly, the couple suggests making at least one space in the home uniquely your own. For them, this meant painting James’s art studio white, a departure from the rest of the home's aesthetic. This choice was driven by the practical need to better perceive the colors in his artwork, but it also created an intentional, energizing space that stands out. This act demonstrates that while respecting a home's original design, personal touches are essential for making it truly yours. The third learning emphasizes that it is acceptable, and often necessary, to modernize certain aspects of a historic home. The Perkins advocate for valuing the original features but also encourage owners to question whether these features still serve their contemporary needs. They suggest trusting one's own judgment rather than viewing the home as a rigid 'time capsule.' The core idea is that the home should feel right on multiple levels for its current occupants, allowing for thoughtful updates that enhance functionality and comfort without disrespecting its heritage. Finally, the article highlights the significance of involving children in the restoration process. The Perkins’ son, Judd, actively participated by sweeping, painting, and sanding, and contributing his observations. This inclusion is presented as a way to instill in children an appreciation for design, the effort involved in creating a special living space, and the value of enjoying one's surroundings. This family-centered approach underscores the idea that a home restoration is not just a structural project but also a shared family experience. #HomeRestoration #HistoricHomes #FireIsland #RenovationAdvice #1970sArchitecture #FamilyInvolvement #Budgeting #Modernization

Chelsea Harris, a copywriter for Schoolhouse, successfully transformed her plain white rental bedroom in Portland, Oregon, into a cottage-worthy space for under $500. This renovation was part of a larger effort to update her circa-1940s apartment, which she moved into to reduce rent expenses and enjoy historic charm. She had previously renovated her galley kitchen with checkerboard floors, painting lower cabinets yellow, adding a peg rail, and applying butcher block-inspired contact paper. Following this, she tackled her bathroom, where she installed a beadboard wall and decorated it with pink accents. The bedroom was her final frontier for adding color and personal touch, aiming to keep costs under $500. Harris adopted an "ask-forgiveness-not-permission" approach to decorating her rental, prioritizing a comfortable living space over concerns about her security deposit. Her bedroom makeover began with choosing a paint color, a process she found challenging. She ultimately selected Behr's Nature’s Gift, a sage green hue, and applied two to three coats directly to the walls without priming. The initial painting process in gloomy Portland weather required later touch-ups in natural sunlight to ensure full coverage. The next step involved adding a subtle wallpaper. Harris lived with the newly painted room for several months before deciding on a wallpaper that would significantly change the space. She opted for the Ric Rac wallpaper from Spoonflower, noting its small-scale squiggles that appear as a solid color from a distance, which suited her preference given her existing plaid rug. Calculating the necessary amount of peel-and-stick wallpaper was straightforward using the website's tools. Installation took approximately two and a half hours, complicated slightly by slanted walls, which required careful painting of the ceiling trim to create a visually straight line for the wallpaper. To address the wallpaper appearing a bit short and to add a traditional touch, Harris installed a wide piece of trim from Home Depot along the bottom edge of the wallpaper. This process involved two hours of painting the trim due to its crevices and then mounting it with a nail gun. For storage, she utilized free shelves from a friend who was moving. These shelves were integrated above a reading corner, providing additional storage without adding bulky furniture. To create a cohesive, built-in look, she painted the shelves and their Amazon-sourced brackets the same sage green color as the walls. Finally, Harris incorporated gauzy curtains from IKEA and brass curtain rods from Target. She already owned the curtain rods, which complemented her desired warm brass accents. The sheer nature of the curtains was intentional, allowing for privacy while still letting in natural light, a crucial consideration for a room without abundant light. She also repainted a thrifted wardrobe, which had a poor sponge-paint finish, to match the room's aesthetic. This wardrobe, along with a living room closet, serves as primary clothing storage, as her partner uses the main bedroom closet as a workspace. Harris primarily executed the DIY aspects of the renovation, with her partner moving in after much of the work was completed, benefiting from the updated space. #RentalRenovation #BedroomMakeover #DIYDecor #BudgetDesign #SageGreen #PeelAndStickWallpaper #PortlandHome #CottageStyle #HomeRenovation

The article explores the financial and practical considerations of reupholstering antique furniture versus purchasing new items, drawing on insights from interior design experts. While there isn't a single definitive answer regarding cost-effectiveness, designers generally suggest that reupholstering often comes at a slightly higher price point than buying new, primarily due to the cost of high-quality fabric and the need for skilled craftsmanship, especially for intricate pieces or traditional methods. The expense can range from a few hundred dollars to thousands, depending on the size of the furniture and the chosen upholstery material, with performance fabrics adding to the cost. However, the decision extends beyond mere cost. Designers emphasize the intrinsic value and sustainability aspects of reupholstering antique furniture. They highlight that antique pieces often possess superior craftsmanship and a unique character that cannot be replicated by modern furniture. Preserving these items contributes to environmental sustainability by diverting them from landfills and fosters a culture of valuing enduring quality over disposable trends. Many designers, like Rebekah Zaveloff of Imparfait Design Studio, advocate for reupholstering due to the benefits of customization, the ability to select specific fabrics and cushion fills, and the satisfaction of maintaining a well-made piece with historical significance. A crucial factor in deciding whether to reupholster is assessing the antique's condition. While most structural damages, such as wobbly frames or worn springs, can be repaired by skilled upholsterers, severe issues like termite damage, extensive water or fire damage, or irreparable hand-carved details might render a piece beyond economical repair. Aesthetic flaws, however, can often be cleverly disguised through reupholstery techniques, such as adding a skirt to hide damaged legs, as demonstrated by Shani Core Interiors. The sentimental and investment value of the furniture also plays a significant role. Heirloom pieces or items from renowned makers like Howard, Gillows, James Shoolbred, or George Smith are considered worthy investments for refurbishment, as their inherent value justifies the cost. For those without such prestigious provenance, the decision often hinges on personal attachment and appreciation for the item's history. The article provides practical advice on how to find a reputable upholsterer, including checking portfolios, asking detailed questions about repair methods (e.g., hand-tied coil springs for antique pieces), seeking multiple quotes, and utilizing social media for recommendations and vetting. It also clarifies the distinction between 'recovering' (simply replacing fabric) and 'reupholstering' (which involves structural repairs and re-springing, in addition to fabric replacement), advising that true reupholstery is essential for preserving the integrity and value of an antique. #AntiqueFurniture #FurnitureRestoration #Upholstery #InteriorDesign #HomeDecor #SustainableLiving #CostComparison #Craftsmanship #HeirloomPieces

Architectural trends today often favor streamlined designs and technological integration. However, historic homes offer an undeniable charm, characterized by artistry and meticulous hand-crafted details rarely found in modern constructions. While the prospect of buying and renovating a property over 80 years old presents a significant financial and emotional commitment, many homeowners find the investment deeply rewarding. This article explores the experiences of five individuals who embraced the challenge of preserving and modernizing historic residences, delving into their motivations, the obstacles they faced, and ultimately, whether the endeavor was worthwhile. Sarah Magness, an interior designer, acquired a Frank Lloyd Wright-designed home built in 1959. Her renovation focused on meticulous restoration, preserving original millwork, plaster, concrete, linoleum, and tile, while introducing contemporary furnishings to bridge the past and present. She highlights the profound satisfaction of being a "caretaker of a home designed by a legendary American architect" and the unexpected discovery of the architect's field notes. Despite the challenge of replacing angled plaster ceilings, Magness firmly believes the continuous effort, cost, and love invested are justified to maintain the home's original design intent and legacy. John and Mandy McCauley undertook a gut renovation of their 1936 Coronado, California bungalow, which expanded to include an extensive remodel of a 1970s back house. Their project aimed to balance honoring the original Cliff May house's character with necessary modernizations, particularly in plumbing, electric, HVAC, kitchen, and bathrooms. Despite doubling their initial budget and the difficulties of living in a construction zone, especially during COVID, they credit their success to a skilled team of architects, landscapers, and interior designers. The McCauleys emphasize the importance of preserving historic homes and community character, finding unique value in elements like 100-year-old Douglas fir and original tiled floors, which a new build could not replicate. Becky Shea, an interior designer, and her husband Jake purchased a 1940 two-bedroom home in Mamakating, New York. They were fortunate to find a well-maintained property, allowing their renovations to focus primarily on aesthetic preferences. Shea preserved original elements like the floors while gutting the mudroom, undertaking extensive painting, installing shiplap in lofted rooms, and incorporating reclaimed beams and modern electrical fixtures. The couple valued the property's size and affordability, which allowed regular visits to Manhattan. Despite a devastating flood caused by frozen pipes nine months post-renovation, Shea finds immense satisfaction in preserving the cultural significance and architectural beauty of historic structures, affirming the experience as incredibly enjoyable. Lisa Knobloch and her family acquired a 1901 four-story home near Chicago during the early days of COVID-19, intending a minor renovation that evolved into a full-gut overhaul across all four levels. They worked with architect Diana Melichar and interior designer Kendall Severson to address outdated 1970s finishes and reconfigure spaces for functionality, particularly to maximize river views. The renovation transformed a "creepy basement" into an entertainment hub and re-imagined the primary suite, all while carefully retaining character-defining features like the main staircase, moldings, stained glass, and millwork. Knobloch acknowledges the emotional and financial toll but views the process as transformative, appreciating the irreplaceable charm and unique elements of their Victorian home that a new construction could not offer. Lisa Schwert, founder of Innate Studio, faced the additional challenge of renovating her 1905 Pelham, NY home during the onset of the pandemic. Her partial gut renovation included replacing HVAC and electrical systems, removing non-load-bearing walls, reconfiguring the kitchen, and restoring original Douglas fir hardwood floors. She prioritized preserving existing finishes and original details. Although unforeseen circumstances led her to sell the home after completing the renovation, the significant upgrades allowed her to recoup costs and make a profit, which she then invested in her new home. Schwert cherishes the "beautiful proportions and details" of older homes and highlights the value of addressing systemic issues like outdated wiring early in the process. She found the experience gratifying, reinforcing her passion for working on single-family, especially older, homes. Ultimately, the consensus among these homeowners is a resounding "yes" to the worthiness of renovating historic homes. However, this commitment requires a willingness to invest substantial time, financial resources, and effort to adapt these venerable structures for a 21st-century lifestyle. The decision to embark on such a project hinges on an appreciation for both the aesthetic appeal and the inherent costs, emphasizing that historic home renovation is not for everyone, but for those who commit, it offers unparalleled rewards. #HistoricHomes #HomeRenovation #InteriorDesign #ArchitecturalPreservation #HomeRemodeling #RealEstateInvestment #RenovationChallenges #LuxuryHomes #SustainableDesign

This article highlights a unique interior design project by Clive Lonstein in Litchfield County, Connecticut, transforming a late 1800s Colonial Revival home with a distinctive turret. Lonstein, a designer who previously worked for William Sofield, opened his own studio in 2016. His clients requested bold color, comfort, and an interesting backdrop for their growing art collection, seeking a bespoke design tailored to their tastes. Instead of extensive structural renovations, Lonstein focused on a decorating approach, embracing the architectural personality of the house designed by Ehrick Rossiter, known for his whimsical country homes. Lonstein emphasized the importance of context in his projects, subtly infusing the unique characteristics of the location into the design. The project involved a vibrant use of color, beginning with a candy apple-red front door, an aubergine staircase, and a bubblegum pink kitchen. The sitting room features moss-hued paint, reflecting the clients' desire for the rich colors often seen in English country houses. The living and dining rooms, however, maintain a white base to allow a diverse collection of art and furniture to stand out. Lonstein skillfully integrated the clients' existing furniture, reupholstering pieces and adding new ones. For instance, the living room showcases paintings by Sophie Larrimore, Caitlin Keogh, and Mary Grigoriadis alongside a reupholstered 1950s sofa, chairs by Sergio Rodrigues, and a game table and chairs by George Nakashima. In the library, a vintage Viggo Boesen chair upholstered in sheepskin complements a sofa, with table lamps from Bitossi and a desk and chair by Mira Nakashima. Upstairs, the color scheme continues with a chartreuse bathroom and a collegiate blue bedroom, echoing the hue of an Yves Klein table downstairs. Lonstein’s favorite space, the round turret room, is bathed in a dusty pink that harmonizes with the original elaborate moldings and serves as a backdrop for a richly-hued photograph by Vik Muniz. A collaborative effort with the client’s art advisor, Bridget Murphy, ensured the seamless integration of the art collection into the design. In the dining room, another Vik Muniz photograph after Gustave Courbet enlivens the neutral space, which includes sheepskin-upholstered vintage Saarinen chairs, a Noguchi light, and a 1950s Martin Eisler caned credenza. Lonstein's approach, despite his personal aspiration to minimalism, is characterized by an appreciation for the idiosyncratic, demonstrating his talent for cohesively blending diverse elements and client preferences into a unified and vibrant interior. #CliveLonstein #InteriorDesign #ConnecticutHome #VictorianArchitecture #BoldColors #ArtIntegration #EclecticDecor #HomeRenovation #DecoratorProject