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Collection by Jiayi Wang

Mid-century

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Full Bloom The white Vico Magistretti dining table is a focal point when you enter the house--"and a great spot to create assemblages of some of my favorite objects," says Neely, who changes the display every few weeks. Set atop a reversible Finn Juhl tray are ceramics from Heath and a Carl Auböck fruit knife with a cane-wrapped handle. Notes Neely:"I always keep a handful of tillandsia around--air plants soften and warm up the space."
Full Bloom The white Vico Magistretti dining table is a focal point when you enter the house--"and a great spot to create assemblages of some of my favorite objects," says Neely, who changes the display every few weeks. Set atop a reversible Finn Juhl tray are ceramics from Heath and a Carl Auböck fruit knife with a cane-wrapped handle. Notes Neely:"I always keep a handful of tillandsia around--air plants soften and warm up the space."
The exterior of Neely and Kefalides’s house is punctuated with a bright red door.
The exterior of Neely and Kefalides’s house is punctuated with a bright red door.
By scouring shops, sales, and auctions, George Marrone amassed a giant trove of postwar furniture. He and his partner, Michael Nocera, applied that same work ethic to a 1959 home in Wilmington, Delaware, which they patched up over two years. The couple’s bulldogs stand guard at the flagstone entrance. The door, still with its Space Age knobs, is painted Flaming Torch by Behr. The brass wallhanging above the landing is by C. Jeré.
By scouring shops, sales, and auctions, George Marrone amassed a giant trove of postwar furniture. He and his partner, Michael Nocera, applied that same work ethic to a 1959 home in Wilmington, Delaware, which they patched up over two years. The couple’s bulldogs stand guard at the flagstone entrance. The door, still with its Space Age knobs, is painted Flaming Torch by Behr. The brass wallhanging above the landing is by C. Jeré.
Midcentury completists score the ultimate catch: a 1959 post-and-beam fixer-upper in which to showcase their sprawling collection.
Midcentury completists score the ultimate catch: a 1959 post-and-beam fixer-upper in which to showcase their sprawling collection.
A Petal end table by Richard Schultz is paired with a Platner armchair. These classics mingle with newer items, such as a Desmond room divider by Jonathan Adler and a sofa by Mitchell Gold + Bob Williams.
A Petal end table by Richard Schultz is paired with a Platner armchair. These classics mingle with newer items, such as a Desmond room divider by Jonathan Adler and a sofa by Mitchell Gold + Bob Williams.
A slatted walkway leads into the new library, which the Gimons have outfitted with a Topissimo rug by Nani Marquina, Grove Garden wallpaper from Osborne & Little’s Tara collection, and a pink Chroma Sassy sliding wall panel by 3form.
A slatted walkway leads into the new library, which the Gimons have outfitted with a Topissimo rug by Nani Marquina, Grove Garden wallpaper from Osborne & Little’s Tara collection, and a pink Chroma Sassy sliding wall panel by 3form.
Luc gets creative in the tearoom, which includes a small play area for the children. The walls of the space exemplify the simplicity of the new structures: Electrical and lighting components are run through the ceiling and floor, leaving many exterior walls unencumbered and free to hold floor-to-ceiling windows. On the raised platform is a Soleil lounge chair by Emu.
Luc gets creative in the tearoom, which includes a small play area for the children. The walls of the space exemplify the simplicity of the new structures: Electrical and lighting components are run through the ceiling and floor, leaving many exterior walls unencumbered and free to hold floor-to-ceiling windows. On the raised platform is a Soleil lounge chair by Emu.
The tearoom, reached by breezeways on either side, provides a transition from the main house to the pavilion, which measures 1,800 square feet. “The pavilion has a distinctive Japanese flair to it, like the original house,” says Parco.
The tearoom, reached by breezeways on either side, provides a transition from the main house to the pavilion, which measures 1,800 square feet. “The pavilion has a distinctive Japanese flair to it, like the original house,” says Parco.
The butterfly-roof pavilion by architects Kate Simonen, Benjamin Parco, and Phil Kaefer connects to the low-slung home Joseph Esherick designed in 1954 via two covered walkways and an open-air tearoom. All three structures sit lightly on the landscape designed by Lawrence Halprin and updated over 50 years later by Gary Roth, a former employee.
The butterfly-roof pavilion by architects Kate Simonen, Benjamin Parco, and Phil Kaefer connects to the low-slung home Joseph Esherick designed in 1954 via two covered walkways and an open-air tearoom. All three structures sit lightly on the landscape designed by Lawrence Halprin and updated over 50 years later by Gary Roth, a former employee.
A deeply saturated blue hue colors the playroom wall.
A deeply saturated blue hue colors the playroom wall.
The literal and figurative centerpiece of the house is the atrium, through which light filters into the rest of the house year-round.
The literal and figurative centerpiece of the house is the atrium, through which light filters into the rest of the house year-round.
After searching for the perfect plot of land on which to build their dream home, a couple instead opted to purchase a "Rummer" home -- a typical example of a low-key midcentury modernist house constructed by a local developer, Robert Rummer, in the 1960s. The five-bedroom, 2,400-square-foot post-and-beam house was strongly reminiscent of California Eichlers, and exemplified the couple’s ideal layout, but was in serious need of a major renovation. The revamp maintained the great expanses of glass, wide-open interiors, and indoor-outdoor living, and added new white concrete floors installed, fixed the radiant heating, updated the kitchen and bathrooms, and new landscaping.
After searching for the perfect plot of land on which to build their dream home, a couple instead opted to purchase a "Rummer" home -- a typical example of a low-key midcentury modernist house constructed by a local developer, Robert Rummer, in the 1960s. The five-bedroom, 2,400-square-foot post-and-beam house was strongly reminiscent of California Eichlers, and exemplified the couple’s ideal layout, but was in serious need of a major renovation. The revamp maintained the great expanses of glass, wide-open interiors, and indoor-outdoor living, and added new white concrete floors installed, fixed the radiant heating, updated the kitchen and bathrooms, and new landscaping.
"The rear yard, given the property's limited size, presented more of a conundrum," says Southerland. "We came up with the idea of using the roof of the garage as a roof deck to add useable area to the rear." Taking advantage of the gently sloped site, he built a series of terraced bleacher-style seating above and around the detached garage, doubling its roof as an additional terrace, and effectively bridging the backyard space into one multi-level whole.
"The rear yard, given the property's limited size, presented more of a conundrum," says Southerland. "We came up with the idea of using the roof of the garage as a roof deck to add useable area to the rear." Taking advantage of the gently sloped site, he built a series of terraced bleacher-style seating above and around the detached garage, doubling its roof as an additional terrace, and effectively bridging the backyard space into one multi-level whole.