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A new, lowered level at the back of the home hosts the kitchen and dining room, and is accessed via concrete steps that deliberately double as informal seating. “We loved the idea of being able to read the sunken part of the house as an entirely concrete element, which would give the space a feeling of being grounded,” says the architect. “[It also] provides a robust base for the timber frame and a series of plinths on which different activities can take place—such as sitting, cooking, reading, or exercising.”

On the interior, the kitchen-and-dining extension features large concrete floor tiles and light-gray concrete blockwork on the walls. Exposed Douglas fir ceiling joists, bespoke birch plywood cabinets, and Corian countertops lend texture to the space. A skylight and tall glass doors that lead to the garden bring in natural light.

The founder of Polly Harbison Design transformed the 1940s home where her sister, Margot, resides with her family to include a new kitchen, a bedroom with an outdoor shower, and wide-open garden views. In the main communal areas, floor-to-ceiling glass doors and wooden screens slide open completely, allowing Margot, Ewen, and their three daughters to get fresh air.

Main Living Space

A dusty-pink facade is only a hint of what’s inside this 18th-century structure. For Sérgio Antunes, cofounder of Lisbon-based Aurora Arquitectos, the charming exterior and its rich pigment provided a fascinating starting point for the renovation of the Rose Building—a single-family residence in southern Portugal that his team turned into five glowing apartments in collaboration with Lisbon architecture studio FURO. Throughout are huge swaths of color with unique touches: For example, painted on the ceiling of the central stair is a moody mural of a woman in the style of a fresco, and in one of the unit’s bathrooms, more ceiling artwork depicts a mermaid emerging from a swirl of waves. Elsewhere, arched windows, sloped ceilings, ornate moldings, and wooden doors elegantly play off Portuguese marble and patterned ceramic tiles. With the go-ahead from the city, the architects were also able to construct a modern addition at the rear—The Mustard Building—that pairs natural wood partitions with the subdued tones of creamy terrazzo.

The living area is oriented around a floating window seat crafted from oak. "We wanted a place for guests to comfortably sit, read, and reflect in the beautiful Colorado surroundings," says Tarah. "We sourced the perfect slab of white oak from a local mill. We kept the edges raw and used a light, matte finish that highlighted the natural beauty without it being over saturated. I wanted it to feel as unfinished and natural as possible."

In the kitchen, Eames chairs flank a custom dining table, and the pendant is by Wever & Ducré.

The designer’s brother, Václav Valda, carved the cabinets for the container house using a milling cutter.

An Eames lounge and ottoman hold court in the master bedroom upstairs. Plenty of natural light and a muted color scheme give the space a wonderfully light feel.

“We didn’t go out and buy a living room collection,” Sofie explains. “In our home, we tried to avoid trends. The furniture we have are things we have collected over many, many years.” Vintage Eames for Herman Miller lounge chair; Isamu Nuguchi table; and Rocking elephant by Rocking Zoo.

Classic mid-century furniture like the Eames lounge chair in Cohen’s bedroom populate the home, a nod to his long life in architecture.

The living room retains the home’s original, poured terrazzo floors. There are oversize Fleetwood sliding glass doors on both sides. Most of the original doors have been upgraded to newer, energy-efficient glass, but their size and placement match what was original to the home.

Classic midcentury features like the wall of glass and clerestory windows provide the home with a connection to the outdoors and flood the living space with natural light. A rough stone-inlay fireplace connects the living room with the facade.

The kitchen is super bright and airy thanks f

“I don’t paint landscapes when I’m here because I can’t compete with the natural beauty,” says Yael.