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The wood screen concealing the outdoor shower was painted yellow and white, matching the color scheme in the guest bathroom.

The facade’s repurposed slate roof tiles also act as a “bug hotel,” providing shelter for insects.

The passage that leads to the bedrooms doubles as a library, with large bookshelves and a reading window.

Inspired by the modernists, the brothers integrated bespoke furniture into the architecture. The bespoke cabinetry is crafted from raw, unpolished timber that has an earthy, warm colour that complements the colour and texture of the walls.

Frontal facade - Social area

“I’m a pool person,” says Jessica. Daltile penny tile lends a retro feel to the water feature. “Orange and blue are our primary accent colors for the house, so taking them to the backyard was kind of a given,” says Frank. “The orange refers back to the burnt orange from the [1950s] era of the house itself.”

The floors, walls, and ceilings are coated in FSC-Certified laminated bleached bamboo.

Aptly named “The Open Corner House,” the rear of the home is rotated 90 degrees, with each perpendicular exposure opening up to views of mature trees, and the all-important patio and pool area. “This is seen over and over again in the film, as the characters are often shown gazing into nature, playing outside, or gathering in covered outdoor areas,” says Ramirez.

The home’s rear corner is wrapped with windows and Marvin Signature Ultimate French doors to embrace views and natural light. “By designing the architecture and interiors simultaneously, The Up Studio was able to create a design that blurs the lines between interior and exterior spaces,” says Ramirez.

A need to balance the farmhouse-inspired front facade—a nod to the region’s local vernacular—with the more modern rear led Ramirez and The Up Studio team to select Marvin Signature Ultimate Casement Narrow Frame windows for the entire home, seamlessly unifying traditional and modern.

The home’s kitchen—an important gathering space for any family, fictional or not—is featured prominently in the film. As Ramirez explains, the home’s interior architecture was preserved in the making of the film, but there were instances where slight modifications were made to fixtures, finishes, and furnishings for visual effect.

A Bouticcelli Corian stone bathtub beckons guests in the downstairs bathroom.

Jessica Helgerson Interior Design, with project manager and lead designer Emily Kudsen Leland at the helm, remade a Portland abode with a crisp paint palette: Benjamin Moore’s Wrought Iron for the cladding and Venetian Gold for the front door. The home was originally designed by Saul Zaik in Southwest Portland, complete with a wood-clad exterior, in 1956. As part of the renovation, landscape design was completed by Lilyvilla Gardens.

In true mid-century fashion, a George Nelson Bubble Lamp is paired with an Eames Lounge by Charles and Ray Eames in a corner of the living room. The glass walls and mitered corner are original features of architect Saul Zaik’s 1956 design.

The living room sports a panoply of wood: Douglas fir for the ceiling, hemlock for the walls, and stained oak for the floor. The sofa is the Neo model by Bensen and the rug is vintage.

The sofa in the family room was designed by Helgerson with Magnifique fabric by Kravet. The 265 Wall Lamp is by Paolo Rizzatto for Flos, and the pine coffee table is from The Good Mod, a local shop in Portland.