25671 Home Design Ideas and Photos

A Muuto couch in the living room.
Chairs from Hay and Matter.
After a strategic renovation, the redesigned apartment is a great example of a home that corresponds with Common’s philosophy of creating spaces that work well, all while responding to their context. (Coffee table from Yield.)
Bathroom Tile: The side-by-side bathrooms look out on a private courtyard through floor-to-ceiling sliding glass doors. They feature original tile in the sunken showers—one in butter yellow, the other in light gray. “The tiles are heavy, real chunky, and of the period,” says Christopher. He had them completely restored, working alongside the tilers and filling cracks with a porcelain paint pen for two days straight. “For something from 1963, they’re really in immaculate shape,” he says.
Combo Oven and Stove  
Christopher found the 1962 Custom Imperial Flair combo oven-stove by Frigidaire/General Motors in perfect working order when he moved in—it just needed new burners. The eye-level dual ovens are fitted with glass doors that open vertically—a bit like the gullwing doors on a DeLorean—while the burners hide in a sliding drawer. With its Howard Miller–inspired clock and cursive labeling, the Flair was the “it” stove of the ’60s, seen in the kitchen of Samantha and Darrin Stephens on Bewitched.
The three Left-Twist Cube's are by Frank Gehry.
KAWS Companion Figure.
The LCW Molded Plywood chair is by Charles and Ray Eames for Herman Miller.
The 1946 Womb Chair by Eero Saarinen by Knoll was reupholstered in Knoll Boucle Orange.
A Diamond chair by Harry Bertoia for Knoll sits in the guest bedroom.
DCM Molded Plywood chairs by Charles and Ray Eames for Herman Miller sit around a dining table by Eero Saarinen for Knoll.
An Eames lounge chair covered in Alexander Girard fabric from Maharam sits near a Girard Model 108 coffee table for Knoll.
Christopher, known professionally as Flore,  surveys a painting in his garage turned studio.
The master bathroom in this Gene Leedy-designed home in Florida is mostly original, with new grasscloth paper covering the formerly white walls. The midcentury modern bathroom vanity features muted wood and white tiles for a clean, modest look.
Leedy’s signature precast double- T concrete beams create overhangs. Christopher furnished the patio with a red GN2 lounge chair by Peter Ghyczy and Maya chairs from CB2.
Beneath a work from Christopher’s “Something Modern” series sits a record player once owned by his grandfather, which Christopher retrofitted with  a Bluetooth speaker. A  vintage Robie Junior robot vacuum sits atop a modern-day automated floor cleaner.
The living area’s Chicklet sofa by Ray Wilkes is covered in a Knoll tweed.
Artist Christopher Florentino says his respect for Gene Leedy drove his update of the architect’s 1963 Ellison Residence in central Florida: “Being original is important to me. I don’t want Gene Leedy to come here and be like, ‘Damn, you killed my vision.’” In the living room, George Nelson’s Saucer Bubble pendant hovers over Eames classics, like an LCW chair, a Molded Fiberglass armchair, and a Molded Plywood coffee table. Christopher found the lounge, an Eames replica, in a dumpster and couldn’t let it go to waste. A Warhol print hangs from the sandstone block wall; the Ekko mobile is by Matthew Richards.
Gene Leedy's unusually concrete double T construction makes the house stand out on its block, and provides an extended 7 feet of indoor/outdoor living space.
The Frigidaire Flair oven is original to the 1963-built home. The iconic cooker was introduced in 1962, when Frigidaire was a subsidiary of General Motors. It has appeared in the classic 60s TV series Bewitched as well as modern throwback Mad Men.
Primary colors and bold art dominate the home's decor. "The yellow and green Warhol flowers —that's my favorite Warhol. My last name means flowers in Italian. So I just l love flowers,
A Herman Miller chicklet sofa (foreground) and a Saarinen by Knoll dining table with Eames' DCM plywood chairs are clearly at home in this authentic midcentury modern abode.
Both Christopher Florentino and his 1963 Gene Leedy-designed home stand out in their quiet Florida neighborhood.
Leaning against the rooftop’s metal railing is like standing on the deck of an ocean liner, says Luise.
Pentagram designer Paula Scher gifted the couple one of her silkscreened maps.
The building, constructed in 1948, was designed by architect A. Rollin Caughey.
The velvet-upholstered daybed is a custom design by Chris Lehrecke.
The desk is actually a shelf by Alvar Aalto for Artek installed upside down; the Stool 60 is also by Aalto. Above the desk is a 1970s illustration by Jean-Michel Folon.
In Anatole’s room, a metal Min bed by Luciano Bertoncini for Design Within Reach has storage added underneath it. Over the bed hangs a drawing of a "rat race
A sketch Nicholas drew of his office at The New Yorker stands in front of an illustration he made of their building.
Even the bedding adheres to the color scheme, with yellow pillows from Merci in Paris and a red blanket from Best Made. The sconce is by David Weeks Studio.
Some of the couple’s favorite curios are displayed in their shared workspace, a Vitsœ wall unit. The Tab T lamps are by Flos.
The white clay Kakomi rice cooker is from Salter House in Brooklyn.
The kitchen features a white Corian counter and integrated sink, IKEA cabinets with custom pulls, and geometric floor tiles from a collaborative series by Heath and Dwell.
In the dining area, Anatole and Nicholas sit on vintage Prouvé Standard chairs at a Tulip table by Eero Saarinen for Knoll. The enamel pendant is by Labor and Wait.
The coffee table is a Drum pouf with wood tray top, both by Softline for Design Within Reach and the yellow throw is by Raf Simons for Kvadrat. On the wall is a silkscreened L’Homme Wiggly poster by Greg Clarke.
A red Crosley turntable sits on top of a custom shelving unit in the living room. The use of primary colors, also seen in the yellow Stool 60 by Alvar Aalto, is a nod to the Bauhaus, says Luise.
Luise Stauss, a former photo editor at The New York Times Magazine,  sits in the living room of the downtown Brooklyn apartment she shares with her husband, Nicholas Blechman, the creative director of The New Yorker. The roughly 1,000-square-foot space feels larger than it is, thanks to high ceilings and bay windows. Twin 1962 Bastiano sofas by Tobia Scarpa are joined by a Cité chair by Jean Prouvé and a wood chair acquired from the New York Historical Society. The floor lamp is by David Weeks Studio.
White subway tiles and a large window over the sink brighten the kitchen.
Potted greenery is abundant throughout the house.
The table lamp in the office was made by Travis Ekmark.
Potted cacti are abundant, both inside and out.
The teak dining table is by IB Koford-Larsen for G-Plan and the chairs are by Victor Bramwell Wilkins for G-Plan.
The rug in the sunken living room is from West Elm.
The guest house kitchen faces a wall of windows.
Bob’s office has a teak  wall unit by Sven Ellekaer for Albert Hansen, a 1960s chair by Ib Kofod-Larsen for Selig, and a vintage Nelson Ball clock.
Bob and Goya walk atop the guesthouse, which nestles into a hill.
An energy-efficient TPO membrane covers the living room’s zigzag roof.
The master bedroom features a vintage Danish teak platform bed from Nordisk Andels-Eksport, a Globe pendant from West Elm, and drapes from IKEA. The mount was a gift from a friend.
Western red cedar slat panels are paired with a pine ceiling and stained oak cabinets in the kitchen. Model Six Stools by Jeff Covey for Herman Miller line the concrete counter.
Bob sits in the entry courtyard with his dog, Goya.
The sunken living room features a built-in sofa and loveseat.
A double-sided fireplace shared with the living room warms the deck on cool evenings. Bob sited the house and strategically placed windows to take advantage of shade in summer and solar gain in winter. The outdoor seating is from IKEA.
A General Electric stereo cabinet and a 1950s chair are among the vintage pieces in the living room.
Influenced by Southern California’s Case Study House program, designer Bob Butler conceived a luminous residence and guest house on a sloping lot in Nashville that originally held a red-brick ranch-style duplex. Western red cedar lines the walkway from the carport to the entrance. The Globe lights are from West Elm.
Werner worked with builder Bernhard Klaffel and some 30 tradespeople to renew the property. The yard was replenished with help from Baumschule Matuschek.

Dive into Dwell's photo archive of spectacular modern homes that embody great design. From midcentury gems to prefabricated units to eye-opening renovations, these inspirational projects are elegant responses to the site and the client's needs. Here, you'll find ideas for every room in the house, whether it be kitchen, bath, bedroom, living, or dining—and beyond.