The interior is mostly painted white with vibrant pops of color adding a distinctive Bauhaus touch. In the kitchen, this is expressed through the mustard yellow cabinetry. "I really love Bauhaus and Mid-Century tones,
The design team retained the old supports, which now frame the kitchen. Jessica picked DeVol cabinets and systems for their traditional-meets-streamlined style.
The expanded kitchen has a large central island, with room for prep, seating, storage, and cooking. The cabinetry is a mix of wood, Shinnoki Milk Oak, and white fronts, Fenix NTM Bianco Kos. The terrazzo counters are by Concrete Collaborative. There are two types of tiles: the Mutina Rombini fluted tile on the island and Cepac Krave Sugar Tiles on the backsplash. “It looks very mid-century modern,” says Blaine of the backsplash tile. “But in this application, it also adds that little touch of depth that I think is really important to making the house feel interesting.” The counter stools are from Hay.
Audi Culver and Ivy Siosi had never built a house before, but as the founders of Siosi, a decade-old furniture company known for its use of domestic, sustainably sourced hardwood and simple, Scandinavian-influenced forms, they were up for the challenge. A large parcel a few miles from downtown caught their eye, and when the owner split it into four smaller lots, they snapped one up.
“I’ve done shelves in front of windows here and there throughout my life,” says Lanigan, who grew up in a hippie commune in the ‘70s, where plants were always hanging in the windows. “I grew up in a geodesic dome my parents built. That organic ‘70s design is very much a touchstone for me.” Beside nostalgia, this choice offers extra accessible shelving and blocks a boring driveway view while still letting in light.
A kitchen shelf Nick picked up secondhand on Kleinanzeigen. It was very damaged when he acquired it, so he applied spackle to resurface it and painted it red.
In the kids’ bath, green hexagon tile from Heath Ceramics is a lovely backdrop for the walnut vanity.
The color of the BlueStar range references the dining room.
Custom cabinetry, countertops, and a dining table were crafted from salvaged wood.
The team used their office kitchen reno to explore bringing mixed materials together in a cohesive fashion.
“The home wasn’t an inexpensive house to build,” says architect Peter Tolkin. “At the same time, it doesn’t have very fancy interior finishing. We wanted to design a modern house with a certain kind of spirit, and we didn’t think that the interior materials needed to be overly fancy. The two places where we really splurged—I think to great effect—were on the tiles in the bathrooms and kitchen, and the copper cladding, which protects the house but also has a very strong visual component to it.”
The green backsplash tiles are vintage, reclaimed from another project.
A closer look at the kitchen, which is painted in a crisp white shade by Farrow & Ball.
The multidisciplinary team at State of Kin, a Perth-based design studio, wanted to create a uniquely Australian home, one that incorporated a variety of both multicultural and local sources. The idea of such a mix, says director Ari Salomone, "is quite true to the Australian vernacular." <span style="font-family: Theinhardt, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Oxygen-Sans, Ubuntu, Cantarell, "Helvetica Neue", sans-serif;">When choosing what shades would go into the home's color palette, the design team drew heavily on the Western Australian landscape. "We looked to the Pindan red dirt of the Northwest, the luminous white beaches, the dusty eucalyptus greens,
When remodelling this five-bedroom family home in an Edwardian building in London, design firm AMA decked the three bathrooms in lime green, baby blue, and lemon yellow tiles
Color-blocked custom cabinets make for a delightful surprise.
More than 6,000 pounds of green Moroccan tiles from Design Fliesen were used in their primary bathroom, which has two Falper faucets. There's a second full bathroom and two powder rooms.
"My wish for the bathroom was for it to feel like walking along a creek through the Tasmanian wilderness,
A long, linear window brings light into the Heath Ceramics tile-covered shower, which is curbless, so as to accommodate aging-in-place.
Dal Tile “Keystones” in Arctic White and Emerald cover the guest bathroom.
Olive-green Fireclay tile creates a spa-like experience in the bathroom and fluctuates in tone throughout the day.
The master bathroom is clad in inexpensive tile from Daltile. The wall-hung toilet is by Duravit.
The kids' bathrooms include original fixtures and tiles along with new flooring.
A detail of the woven linen window coverings.
Pastel blue tile and Driklolor paint in the soft, pink Pillow hue add a touch of playfulness to the kid’s bathroom. A Flower Pot pendant light from Verner Panton hangs above the round mirror and wall-mount faucet.
“For the master bathroom, I wanted to create a spa-like retreat for my husband and I. We chose classic finishes with gray herringbone floor tile, white subway tile for the walls, and chrome fixtures and hardware. We also took down a wall that separated the toilet and shower from the sink area and it made the bathroom feel twice as large.”
Grey describes the patina process for the faucet and shower fixtures: “You get unfinished or un-lacquered brass, and then you boil vinegar and dip them in there. Then I put it in a bag with an egg and let it sit out for a couple of weeks. Then I opened it up, which was pretty disgusting, but it did the trick.”
On the ground floor, countertops from Concrete Collaborative add texture.
The eponymous founder and principal of Michael K. Chen Architecture resuscitated a four-story, 3,600-square-foot home in Brooklyn’s Clinton Hill neighborhood that was built in 1895 and had been abandoned for 20 years. Its newest owners—a tech investor and an art teacher at a public school—were inspired by the playful color palette that was still apparent underneath the building’s decay. "We had epic color palette meetings, looking at deck after deck for paint colors that spoke to us or provoked a particular sensation,” says Chen. “You don’t look at the color, you inhabit it.”
The door to Eoghan Mahony’s office is set on a caster and has a hinge that runs the entire ten-foot height.
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