Collection by John Schlue

Living room

The bathroom's shower is wheelchair accessible, if needed.
The bathroom's shower is wheelchair accessible, if needed.
Native Texans and married designers Elizabeth Alford and Michael Young came home to roost 10 years ago, when they ditched big-city life in New York for a ranch house in Austin. The couple immediately knew that the home, originally built by architect Jonathan Bowman in 1957, would need a remodel, but realized that a complete restoration would be too costly and perhaps "not that satisfying" for the designers to work solely within the existing structure. So they stripped it down to the footprint and rebuilt, shaping a family home that would reflect both the hypermodern lives they left in New York City and the deep-rooted cultural heritage that comes with growing up in Texas.
Native Texans and married designers Elizabeth Alford and Michael Young came home to roost 10 years ago, when they ditched big-city life in New York for a ranch house in Austin. The couple immediately knew that the home, originally built by architect Jonathan Bowman in 1957, would need a remodel, but realized that a complete restoration would be too costly and perhaps "not that satisfying" for the designers to work solely within the existing structure. So they stripped it down to the footprint and rebuilt, shaping a family home that would reflect both the hypermodern lives they left in New York City and the deep-rooted cultural heritage that comes with growing up in Texas.
Artist Cori Creed stands in the kitchen of the vacation home in rural British Columbia that she and her husband, Craig Cameron, built with their friend and architect, Kevin Vallely. Cori made the ceramic dinnerware and pendants, while Craig built the kitchen island and installed the plywood ceiling with the help of his stepfather.
Artist Cori Creed stands in the kitchen of the vacation home in rural British Columbia that she and her husband, Craig Cameron, built with their friend and architect, Kevin Vallely. Cori made the ceramic dinnerware and pendants, while Craig built the kitchen island and installed the plywood ceiling with the help of his stepfather.
In the living room, a Söderhamn sectional sofa from IKEA joins a Molded Plastic Rocker by Charles and Ray Eames for Herman Miller and a Jøtul stove. The burlap pillows were crafted by Cori out of coffee bean sacks. “She has ideas about making stuff that I would never think of,” says Craig.
In the living room, a Söderhamn sectional sofa from IKEA joins a Molded Plastic Rocker by Charles and Ray Eames for Herman Miller and a Jøtul stove. The burlap pillows were crafted by Cori out of coffee bean sacks. “She has ideas about making stuff that I would never think of,” says Craig.
De Poorter lowered the living room floor by about three feet to allow for larger windows. Vintage Sade sofas, purchased in Berlin, join an Arco lamp by Achille Castiglioni for Flos, a Noguchi coffee table, and a painting by family friend Hugo de Clercq.
De Poorter lowered the living room floor by about three feet to allow for larger windows. Vintage Sade sofas, purchased in Berlin, join an Arco lamp by Achille Castiglioni for Flos, a Noguchi coffee table, and a painting by family friend Hugo de Clercq.
An open-plan living/dining/kitchen area occupies the heart of the home and opens up to the outdoors on the north and south sides. Chestnut lines both gabled end walls.
An open-plan living/dining/kitchen area occupies the heart of the home and opens up to the outdoors on the north and south sides. Chestnut lines both gabled end walls.
The Kelleys furnished the cottage with help from Suzanne’s daughter Betsy Burbank of Betsy Burbank Interiors. Classic modernist icons, such as a Saarinen Womb chair for Knoll, a Herman Miller Eames lounge chair, and an Eileen Grey E1027 side table look at home alongside present-day pieces such as an Encore sofa (which handily folds down into a sleeping surface) from Room & Board and a Doka rug designed and produced by Stephanie Odegard. The Wohlert pendant lights from Louis Poulsen were designed by Vilhelm Wohlert in 1959, but grouped as such, they appear distinctly contemporary.
The Kelleys furnished the cottage with help from Suzanne’s daughter Betsy Burbank of Betsy Burbank Interiors. Classic modernist icons, such as a Saarinen Womb chair for Knoll, a Herman Miller Eames lounge chair, and an Eileen Grey E1027 side table look at home alongside present-day pieces such as an Encore sofa (which handily folds down into a sleeping surface) from Room & Board and a Doka rug designed and produced by Stephanie Odegard. The Wohlert pendant lights from Louis Poulsen were designed by Vilhelm Wohlert in 1959, but grouped as such, they appear distinctly contemporary.
The door to Eoghan Mahony’s office is set on a caster and has a hinge that runs the entire ten-foot height.
The door to Eoghan Mahony’s office is set on a caster and has a hinge that runs the entire ten-foot height.
In the living room, Arne Jacobsen Swan chairs flank a Marcel Breuer for Isokon nesting table. Above the Florence Knoll–designed credenza is a print by English artist Terry Frost. The adjacent deck holds Breuer’s Folding Armchair and a table from Aram in London.
In the living room, Arne Jacobsen Swan chairs flank a Marcel Breuer for Isokon nesting table. Above the Florence Knoll–designed credenza is a print by English artist Terry Frost. The adjacent deck holds Breuer’s Folding Armchair and a table from Aram in London.
The living room occupies the middle volume and has a cathedral ceiling. “It’s the largest room in the house and has the best views,” the husband says. “It’s where we entertain and encourage the kids to be with family.” Sliders open to the concrete terrace where they gathers every night to watch the sunset. The landscape is by Australian-American photographer  Brooke Holm.
The living room occupies the middle volume and has a cathedral ceiling. “It’s the largest room in the house and has the best views,” the husband says. “It’s where we entertain and encourage the kids to be with family.” Sliders open to the concrete terrace where they gathers every night to watch the sunset. The landscape is by Australian-American photographer Brooke Holm.
“We took a fair bit of influence from American Arts and Crafts houses, particularly in L.A., but with everything, I like to have a very Brisbane-centric end product,” says Wrightson.
“We took a fair bit of influence from American Arts and Crafts houses, particularly in L.A., but with everything, I like to have a very Brisbane-centric end product,” says Wrightson.
The bright living room features a fireplace, open shelving, and artwork showcasing emergent female voices, which was of particular interest to one of the owners.
The bright living room features a fireplace, open shelving, and artwork showcasing emergent female voices, which was of particular interest to one of the owners.
“Darrell loves listening to records, so he custom-designed a record console, and had that built,” says Hong.
“Darrell loves listening to records, so he custom-designed a record console, and had that built,” says Hong.
The designers connected the living and dining room at the rear of the house. Large windows frame views into the backyard, and new oak flooring, Oak Nordic by Eckowood, lightens up the palette.
The designers connected the living and dining room at the rear of the house. Large windows frame views into the backyard, and new oak flooring, Oak Nordic by Eckowood, lightens up the palette.
Remo Kommnick and Emi Moore wanted a minimalist home that could blend with its site in rural Virginia. “We had to keep things really simple,” says architect Patrick Farley. The cabin is clad in stained western red cedar, and its form is inspired by shelters on the nearby Appalachian Trail.
Remo Kommnick and Emi Moore wanted a minimalist home that could blend with its site in rural Virginia. “We had to keep things really simple,” says architect Patrick Farley. The cabin is clad in stained western red cedar, and its form is inspired by shelters on the nearby Appalachian Trail.

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