Favorites

“The fireplace is the one element in the home that was intentionally left untouched,” she interior designer Festa Radoni. “Its simplicity speaks volumes, and the textured blockwork holds a beauty and history that we didn’t want to erase.”

The contrasting style of the original home and the 70s-era addition come together in this space, now with white oak wall paneling and a twenty-foot-long, seven-foot-wide custom sofa designed by Office of Tangible Space. The painting is by Kathan Zerzan.

Located steps from the beach in Kent, England, the recently renovated structure has a Flemish-bond brick facade, limewashed interiors, and a striking steel staircase.

When Rob and Mary Lubera started pulling threads to uncover the origins of their new home—the lone midcentury house amid rows of Tudor Revivals in suburban Detroit—not even architecture scholars could have anticipated what they would find. Theirs is the last surviving residence by Alexander Girard (1907–1993), a modernist visionary who made his name in textiles but tried his hand at virtually everything, architecture included. The shoji-like laminate screens, seen in the entryway, are characteristic of his Japanese-influenced work.

In this Hudson Valley midcentury, you can take in the afternoon sun from the reading nook or explore the surrounding valley in hiking boots.

Inspired by a vintage Swedish design book, Ann gave the fireplace an asymmetrical shape and plaster finish, and the interior was rebuilt. The wood coffee table is by Muhly, and the metal one a vintage piece that Ann found later on, purchasing because she got a kick out of the similarities between them. "It made me laugh,

This formerly beige Brooklyn home now relishes in a range of blues, greens, and orangey-reds, with terrazzo and tile to spare.

The lightly refreshed midcentury has tongue-and-groove ceilings, a large central atrium, and a backyard filled with fruit trees.

Architect Ana Smud’s residence in the Vicente López suburb of Buenos Aires is surrounded by gardens and wrapped in timber, concrete, and glass.

Patnaik chose simple black tiles instead of stone for the floor because stone would've made the structure too heavy for the stilts it sits on.