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In 1962, Skidmore, Owings & Merrill architect Arthur Witthoefft won the AIA's highest honor for a home he built in the lush woods of Westchester County. Having fended off a developer's wrecking ball, Todd Goddard and Andrew Mandolene went above and beyond to make this manse mint again.
In 1962, Skidmore, Owings & Merrill architect Arthur Witthoefft won the AIA's highest honor for a home he built in the lush woods of Westchester County. Having fended off a developer's wrecking ball, Todd Goddard and Andrew Mandolene went above and beyond to make this manse mint again.
The ornate 12,847-square-foot Victorian manse in St. Louis is anything but cookie-cutter.
The ornate 12,847-square-foot Victorian manse in St. Louis is anything but cookie-cutter.
Mediterranean-style resident built in 2002 on the outside, but a transformed modern-day manse on the inside.
Mediterranean-style resident built in 2002 on the outside, but a transformed modern-day manse on the inside.
The family’s 1920s Mediterranean-style manse is an eclectic example of the architecture found in Atlanta’s elegant Buckhead neighborhood.
The family’s 1920s Mediterranean-style manse is an eclectic example of the architecture found in Atlanta’s elegant Buckhead neighborhood.
Deborah Oropallo and Michael Goldin made an unusual choice when moving from Berkeley, California, to Marin County. The couple decided to buy a large, never-finished manse and turn the empty structure into their home.
Deborah Oropallo and Michael Goldin made an unusual choice when moving from Berkeley, California, to Marin County. The couple decided to buy a large, never-finished manse and turn the empty structure into their home.
Another hotelier profiled here is Daniele Kihlgren, whose medieval manse in the Italian town of Santo Stefano di Sessanio in Abruzzo is meant for, as he puts it, "'modern-age romantics,' in the literary sense of the word."
Another hotelier profiled here is Daniele Kihlgren, whose medieval manse in the Italian town of Santo Stefano di Sessanio in Abruzzo is meant for, as he puts it, "'modern-age romantics,' in the literary sense of the word."
Dow Chemical put Midland on the map, but architect and local scion Alden B. Dow made it the most modern town in Michigan. Dow’s masterpiece is undoubtedly his home and studio in Midland. Designed in 1933 to be built in stages, the sprawling manse seems to rise out of a pond, its green copper roof and bright-white, geometric form seemingly birthed by the landscape. It’s a nearly perfect evocation of a guiding Dow dictum, “Gardens never end, and buildings never begin.”
Dow Chemical put Midland on the map, but architect and local scion Alden B. Dow made it the most modern town in Michigan. Dow’s masterpiece is undoubtedly his home and studio in Midland. Designed in 1933 to be built in stages, the sprawling manse seems to rise out of a pond, its green copper roof and bright-white, geometric form seemingly birthed by the landscape. It’s a nearly perfect evocation of a guiding Dow dictum, “Gardens never end, and buildings never begin.”
Designed by Italian designer and architect Ettore Sottsass, this Silicon Valley manse was created for David Kelley, founder and chairman of global design consultancy IDEO and the Stanford d.school. The 6,000-square-foot home consists of six connection pavilions, each maintaining their own unique shape, color, and material. Holding together four of the six is a glass atrium—Sottsass didn’t believe in hallways, and thus formed a flexible collection of linked spaces. As the city capped the total square footage, Sottsass brought outdoor terraces into the home, fusing the transition with the atrium. In the office, an 18-foot barrel-vaulted ceiling sits overhead as an architectural metaphor for inspiration.
Designed by Italian designer and architect Ettore Sottsass, this Silicon Valley manse was created for David Kelley, founder and chairman of global design consultancy IDEO and the Stanford d.school. The 6,000-square-foot home consists of six connection pavilions, each maintaining their own unique shape, color, and material. Holding together four of the six is a glass atrium—Sottsass didn’t believe in hallways, and thus formed a flexible collection of linked spaces. As the city capped the total square footage, Sottsass brought outdoor terraces into the home, fusing the transition with the atrium. In the office, an 18-foot barrel-vaulted ceiling sits overhead as an architectural metaphor for inspiration.