SubscribeSign In
Collection by Diana Budds

Midcentury's Greatest Hits

We've featured homes from virtually every continent, in locations as far ranging as busting metropolises to serene suburbs to remote islands, with architectural programs equally as diverse. However, the one style most emblematic of Dwell as a whole seems to be that of the mid-century (the name check in this video at about 30 seconds in is one example). In the following slideshow, view an assortment homes that channel the ethos of the era's architecture, interiors, or progressive design spirit. You'll spy what might be the first modern conversation pit and see a structure whose dramatic seaside locale competes with its sleek high-modern stylings.

View 17 Photos
Buckner and Roberts both expressed admiration for Jones’s thoughtful details—including the sloping glass, angled columns, and Wrightian light shelf.
Buckner and Roberts both expressed admiration for Jones’s thoughtful details—including the sloping glass, angled columns, and Wrightian light shelf.
The living room, with vintage furnishings by Harry Bertoia, Paul McCobb, and others, overlooks the heavily wooded site, which adjoins a protected watershed. Goddard and Mandolene replaced the original tile floor with a glossy coat of resin and restored the original ceiling.
The living room, with vintage furnishings by Harry Bertoia, Paul McCobb, and others, overlooks the heavily wooded site, which adjoins a protected watershed. Goddard and Mandolene replaced the original tile floor with a glossy coat of resin and restored the original ceiling.
The Opdahl House, designed by Edward Killingsworth for Richard and Joyce Opdahl, is located on the island of Naples, in Long Beach, California, and the design responds to the constraints imposed by the compact site.Unlike the neighbors, whose homes unflinchingly abut their property lines, Killingsworth set the Opdahl House 42 feet back from the street, dedicating half of the lot to a dramatic entryway that includes a carport, garden, and reflecting pool. The effect is one of entering a private sanctuary.
The Opdahl House, designed by Edward Killingsworth for Richard and Joyce Opdahl, is located on the island of Naples, in Long Beach, California, and the design responds to the constraints imposed by the compact site.Unlike the neighbors, whose homes unflinchingly abut their property lines, Killingsworth set the Opdahl House 42 feet back from the street, dedicating half of the lot to a dramatic entryway that includes a carport, garden, and reflecting pool. The effect is one of entering a private sanctuary.
DW0807_GREY_04
DW0807_GREY_04
Lafayette Park's two-story townhouses are configured in a U-shaped formation.
Lafayette Park's two-story townhouses are configured in a U-shaped formation.
Because the original kitchen had been removed, Alexandra made the decision to widen the gallery-style room by ten inches. Floor-to-ceiling glass makes for ample natural light in the eating area, while the Vitra wall tiles provide a contemporary touch.
Because the original kitchen had been removed, Alexandra made the decision to widen the gallery-style room by ten inches. Floor-to-ceiling glass makes for ample natural light in the eating area, while the Vitra wall tiles provide a contemporary touch.
Marcel Breuer's 1959 Hooper House II was featured in Dwell's December/January 2009 issue. It’s a textbook example of Breuer’s classic “bi-nuclear” house, a division of the home into spaces for adults and children. One of Breuer's bi-nuclear houses was featured in the Museum of Modern Art's House in Garden exhibition series, which introduced modern living to the American audience. Click here to read about that house's preservation.
Marcel Breuer's 1959 Hooper House II was featured in Dwell's December/January 2009 issue. It’s a textbook example of Breuer’s classic “bi-nuclear” house, a division of the home into spaces for adults and children. One of Breuer's bi-nuclear houses was featured in the Museum of Modern Art's House in Garden exhibition series, which introduced modern living to the American audience. Click here to read about that house's preservation.
The playroom, lit by skylights, is now a reading and television space for North, whose children are now adults.
The playroom, lit by skylights, is now a reading and television space for North, whose children are now adults.
Shelly walks along the perimeter of the house, near the central living area. The design of the house, with its many rooms, nooks, and open family spaces, "was so ahead of its time," Shelly says, "that, to young people coming here, it still feels contemporary."
Shelly walks along the perimeter of the house, near the central living area. The design of the house, with its many rooms, nooks, and open family spaces, "was so ahead of its time," Shelly says, "that, to young people coming here, it still feels contemporary."
Ray Kappe relaxes in the central living space, which offers views onto other shared family zones. Behind him is a view down into his office. Half a level up, Shelly Kappe stands at the entrance to the upper family room.
Ray Kappe relaxes in the central living space, which offers views onto other shared family zones. Behind him is a view down into his office. Half a level up, Shelly Kappe stands at the entrance to the upper family room.
San Francisco’s modernists were faced with the issue of building within a firmly established stylistic tradition—think bay windows and gingerbread. Henry Hill’s 1947 renovation of a 1908 Victorian tucked away on an alley in historic Russian Hill provides a remarkable response to the dilemma.
San Francisco’s modernists were faced with the issue of building within a firmly established stylistic tradition—think bay windows and gingerbread. Henry Hill’s 1947 renovation of a 1908 Victorian tucked away on an alley in historic Russian Hill provides a remarkable response to the dilemma.
Walter Gropius wanted the Hagerty House, his first commission in the United States, to be as close to the sea as possible. He sited the structure a precarious 20 feet from the shore and let the setting dictate the design. Read the full story here.
Walter Gropius wanted the Hagerty House, his first commission in the United States, to be as close to the sea as possible. He sited the structure a precarious 20 feet from the shore and let the setting dictate the design. Read the full story here.
Early on, the house's simplicity had great appeal to Jan Sasseen, the current owner. From walls to rugs to furniture, "pretty much everything is white," she says. "When I was decorating, I picked the most basic things I could find. Nothing had details or frills."
Early on, the house's simplicity had great appeal to Jan Sasseen, the current owner. From walls to rugs to furniture, "pretty much everything is white," she says. "When I was decorating, I picked the most basic things I could find. Nothing had details or frills."
The Miller House and Garden features a custom-made sofa in the open-plan living area designed by Saarinen with textiles by Girard. The home was widely published and is in part credited for the popularity of conversation pits in the 1950s and 1960s.
The Miller House and Garden features a custom-made sofa in the open-plan living area designed by Saarinen with textiles by Girard. The home was widely published and is in part credited for the popularity of conversation pits in the 1950s and 1960s.
The front entrance of the Miller House is flanked by a series of glass screens, designed by either Dan Kiley or Girard.
The front entrance of the Miller House is flanked by a series of glass screens, designed by either Dan Kiley or Girard.
"We didn't realize the exterior was straight-grain redwood," says Craig Bassam of the house he shares with Scott Fellows. "It was covered in layers of gray paint." Bassam replaced the terrace's concrete pavers with bluestone and removed a concrete-block wall.
"We didn't realize the exterior was straight-grain redwood," says Craig Bassam of the house he shares with Scott Fellows. "It was covered in layers of gray paint." Bassam replaced the terrace's concrete pavers with bluestone and removed a concrete-block wall.
Charles Goodman in his Washington, D.C. office during the 1950s.
Charles Goodman in his Washington, D.C. office during the 1950s.