Family Home Renovation in Brooklyn
Add
Like
Comment
Share
Facing the front facade on the English basement level, a sectional of Dixon’s design punctuates the otherwise neutral hues with a stately purple. The lamp is a double-suspension Tolomeo from Artemide. The reupholstered Thonet chair lends balance to the room through its own asymmetry.

Facing the front facade on the English basement level, a sectional of Dixon’s design punctuates the otherwise neutral hues with a stately purple. The lamp is a double-suspension Tolomeo from Artemide. The reupholstered Thonet chair lends balance to the room through its own asymmetry.

Brightened by light from the backyard, the built-in credenzas and kitchen cabinetry are by JKK Woodcraft. A Kartell FL/Y pendant lamp bridges the glass and wood details.

Brightened by light from the backyard, the built-in credenzas and kitchen cabinetry are by JKK Woodcraft. A Kartell FL/Y pendant lamp bridges the glass and wood details.

Dixon inspects a drawing in the couple’s shared office on the home’s top floor. The space features a sloping ceiling that rises to ten feet at one end. The new wood of the inserted ceiling counterpoints the vintage pumpkin pine floorboards underfoot.

Dixon inspects a drawing in the couple’s shared office on the home’s top floor. The space features a sloping ceiling that rises to ten feet at one end. The new wood of the inserted ceiling counterpoints the vintage pumpkin pine floorboards underfoot.

On the parlor level, the pigmented plaster walls eschew the finish of paint. A modest reveal between the ceiling plane and the walls ingeniously accommodates a concealed picture rail that runs the perimeter of the room. The 1968 painting above the sofa is by op-artist Julian Stanczak.

On the parlor level, the pigmented plaster walls eschew the finish of paint. A modest reveal between the ceiling plane and the walls ingeniously accommodates a concealed picture rail that runs the perimeter of the room. The 1968 painting above the sofa is by op-artist Julian Stanczak.

For Mark Dixon, an architect, and Alexandra Lange, an architecture critic (and sometime Dwell contributor) and coauthor of the new book Design Research: The Store That Brought Modern Living to American Homes, reuniting the separate levels of a typical mid-19th-century duplexed house common to the Cobble Hill neighborhood of Brooklyn would challenge their expertise and expectations. Their collaboration provided clues as to how their design ideas—his as a designer, hers as a passionate observer—would translate into practice.

Dixon and Lange sought to solve the house’s existing problems and pursue their vision in equal measure. Fortunately, there were opportunities to do both in the same stroke, since restoring original historic features and opening up dark spaces to more light enabled them to introduce new structural and material solutions. Both hoped to deploy beloved design concepts. Lange sought a limited material palette based on the blonde wood of classic Scandinavian design. Dixon translated her desires into surfaces that aren’t typically constructed from wood—ceilings and built-out walls. “I had a lot of front-end ideas about how things should be, but Mark had to work out the reality of it,” says Lange. “We have very similar tastes. We wouldn’t be married otherwise—it’s such a big part of our psyches.”

Inspiring references flashed through Dixon’s mind when he analyzed how to approach the space. A book by woodworker and designer Norman Potter, featuring a small kitchen plugged into an existing space, was among them. The idea of a box within a larger box provided “a lesson in craft and how to take a fresh look at basic functions and rituals,” says Dixon. Also key was Louis I. Kahn’s Yale Center for British Art. “It has a wonderful play of warm and cool materials that was definitely in my mind’s eye when I thought about the palette of materials.”

These inspirations led Dixon to a process of subtraction and insertion. Common to rowhouses of the era, the partially below grade English basement level was murky. An interior wall divided the space awkwardly and was among the first things to go. In its place an open frame of exposed steel beams now projects up through all four levels, adding structural strength with minimal structure. The process of peeling back to essentials extended to the exposed  subfloor, which revealed a patinated wood popularly known as pumpkin pine. The front windows, the bottoms of which had been bricked over, were restored to their original to-the-floor height, dramatically increasing the daylight quotient (and reinstating the facade’s original character).

But authentically restoring everything, such as the dark brick walls, was not part of the plan. “We wanted a light-colored material, but not a paint finish—something more like mortar,” says Dixon. “We arrived at pigmented plaster—it’s in the same industrial world as brick. The walls are uniformly light gray but slightly mottled.” The effect hearkens to the claylike color of concrete favored by Kahn, but without the brutal texture, and creates a perceptibly sedate atmosphere throughout the house.

The next step in structural unification came with new staircases. A solid wooden flight, coated with so many layers of red paint so as to approach heavy lacquer, connects the downstairs family area to the parlor floor—an expansive living room defined by ash bookcases set between the steel frame uprights. The remaining flights are fabricated from folded steel with parallel side struts, a design that negates the hefty square tube backbone that supports most metal stairs. The effect is structurally detailed yet light, an exercise in precision by fabricator Wesley Martel, who also removed the heavy hearths of the fireplaces in favor of fine flat fronts. 

Dixon’s curiosity about inserting volumes within larger spaces involved approaching the bedrooms and bathrooms essentially as cabinetry. “I was interested in cabinetry wall ideas while working on renovations of similar buildings before we purchased the house.” Like the bookcases in the living room, the built-out walls are framed in ash, constructed more as volumes than slabs. They hide pocket doors in the nursery and guest room and create refined counterpoints to the plaster. The insertion concept extends to an electric and HVAC utility core masked by white acrylic, which, in combination with the exposed steel beams, could seem aggressively industrial but instead nestles along the bookcases almost imperceptibly.

The couple’s combined design ideas find maximum expression in their shared office on the top floor, where the ceiling now crests at one end to an uplifting 10 feet. “It was the serene feeling of being up in the light and the treetops that made us both want the top floor to be the office, but the original ceiling was seven feet high front to back and the whole floor felt like a garret,” says Dixon. Their work areas correspond to their individual personalities and approaches—Lange at an antique desk with just a computer, paper planner, and a notebook, Dixon at a workstation with synthetic stone samples, a large plotter, and other necessary accoutrements of the working architect.

But over the course of this three-year renovation (begun in 2006), with Dixon leading a modest team of workers, came the obligatory low points. The acerbic and amusing analyses of architecture and design for which Lange is best known were caught mute at the often tedious realities of the process. “At several points during the construction I became incredibly frustrated with how long it was taking. I had never experienced it for myself and was used to the sped-up, magazine version of events,” says Lange. “Everything was very emotional, and you’re thinking about the house where you’ll raise then-nonexistent children and live in the rest of your life. You just don’t think of the now.”

There were conflicts over details such as the bookshelves, which in their box-cubby geometry seem far from controversial. “I saw some cool Chinese scroll cabinet somewhere and I proposed something similar, with a lot of tiny slots and a beautiful vertical direction,” recalls Dixon. Lange would have nothing of it: “I thought it was incredibly busy. When I don’t like something I get offended.”

It’s with a tinge of embarrassment that Lange and Dixon now recount the difficulties they encountered and overcame during the remodel. There’s also a sense that the process itself, however challenging to their skills, instincts, and relationship, provided indispensable professional lessons. As they continue on their respective paths of architect and critic, Dixon and Lange can add an important experience to their credentials: client.

The exposed ceiling beams and inserted steel framing system are visible in the lower level, where Lange and Dixon relax with their son Paul.

The exposed ceiling beams and inserted steel framing system are visible in the lower level, where Lange and Dixon relax with their son Paul.

 

From the street, Lange and Dixon’s renovated row house is notable for double-hung windows restored to their 19th-century height.

From the street, Lange and Dixon’s renovated row house is notable for double-hung windows restored to their 19th-century height.

Click through the extended slideshow to see more photos from the project.

Lange’s collection of vintage Heath cups and saucers, Jasper Morrison White Moon dinnerware for Rosenthal, and Simon Pearce handblown goblets fill the overhead kitchen cabinets, which are accessible from either side of the counter. The yellow backsplash is back-painted glass.

Lange’s collection of vintage Heath cups and saucers, Jasper Morrison White Moon dinnerware for Rosenthal, and Simon Pearce handblown goblets fill the overhead kitchen cabinets, which are accessible from either side of the counter. The yellow backsplash is back-painted glass.

Lange reads the newspaper in a vintage Pierre Paulin Little Tulip chair for Artifort.

Lange reads the newspaper in a vintage Pierre Paulin Little Tulip chair for Artifort.

The exposed steel beams delineate access areas from the rooms. The staircase system and fireplaces were fabricated by Wesley Martel.

The exposed steel beams delineate access areas from the rooms. The staircase system and fireplaces were fabricated by Wesley Martel.

Artwork hangs above the built-in storage in the English basement.

Artwork hangs above the built-in storage in the English basement.

Lange’s predilection for vintage design punctuates the space. The office level includes a cozy guest room with a mid-century Heywood Wakefield-esque dresser serving as a bedside table.

Lange’s predilection for vintage design punctuates the space. The office level includes a cozy guest room with a mid-century Heywood Wakefield-esque dresser serving as a bedside table.

From the previous owners, Lange spied several key pieces of vintage furniture, including two rare George Nelson Thin Edge dressers for Herman Miller.

From the previous owners, Lange spied several key pieces of vintage furniture, including two rare George Nelson Thin Edge dressers for Herman Miller.

Lange and Dixon opted to use wood for surfaces, such as the ceiling here, where it isn't generally employed.

Lange and Dixon opted to use wood for surfaces, such as the ceiling here, where it isn't generally employed.

Among Lange's ephemera is a poster designed by her grandfather John Scotford Jr. for Dartmouth's skiway. Another copy is available here: internationalposter.com.

Among Lange's ephemera is a poster designed by her grandfather John Scotford Jr. for Dartmouth's skiway. Another copy is available here: internationalposter.com.

By the door, shoes get organized on a built-in by JKK Woodcraft.

By the door, shoes get organized on a built-in by JKK Woodcraft.

A fridge clad in cork provides a decidedly warm touch to the kitchen.

A fridge clad in cork provides a decidedly warm touch to the kitchen.

An icy-blue Kartell FL/Y pendant light adds a distinctly contemporary touch to the rustic English basement level.

An icy-blue Kartell FL/Y pendant light adds a distinctly contemporary touch to the rustic English basement level.

Family pictures and a letterpress poster by Lange's mother, designer Martha Scotford, adorn a textile covered panel.

Family pictures and a letterpress poster by Lange's mother, designer Martha Scotford, adorn a textile covered panel.

On the top level of the brownstone, where the couple raised the ceiling to ten feet, architect Mark Dixon takes a ladder up to the roof.

On the top level of the brownstone, where the couple raised the ceiling to ten feet, architect Mark Dixon takes a ladder up to the roof.

A quartet of Jasper Morrison Air Chairs for Magis provide outdoor seating.

A quartet of Jasper Morrison Air Chairs for Magis provide outdoor seating.

Paul finds a hiding place amongst the bedroom built-ins.

Paul finds a hiding place amongst the bedroom built-ins.

A small Eames Wire-base table provides the perfect dining space for son, Paul.

A small Eames Wire-base table provides the perfect dining space for son, Paul.

Paul spreads out his toys on a rug from Pottery Barn.

Paul spreads out his toys on a rug from Pottery Barn.

The 1968 painting above the sofa is by op-artist Julian Stanczak. The concealed picture rail from which it hangs runs the perimeter of the room.

The 1968 painting above the sofa is by op-artist Julian Stanczak. The concealed picture rail from which it hangs runs the perimeter of the room.

The exposed steel framing system is visible on the parlor floor, where Dixon and Paul share a laugh.

The exposed steel framing system is visible on the parlor floor, where Dixon and Paul share a laugh.

On the parlor level, the distinctive pigmented plaster walls eschews the finish of paint.

On the parlor level, the distinctive pigmented plaster walls eschews the finish of paint.

Paul Rudolph, Eero Saarinen, Corbu, and Paul Rand account for a dose of the couple's reading material.

Paul Rudolph, Eero Saarinen, Corbu, and Paul Rand account for a dose of the couple's reading material.

Green Heath tile, with their signature unevenness, provide a warm touch to the modern space. A cut-out in the glass allows the bather to dial in the right temperature on the Kohler fixture before stepping into the shower.

Green Heath tile, with their signature unevenness, provide a warm touch to the modern space. A cut-out in the glass allows the bather to dial in the right temperature on the Kohler fixture before stepping into the shower.

Details
Project: Dixon / Lange Residence
Comments
Dwell Life © 2016Download our iOS App