“A critical aspect of the project was the incorporation of natural light and ventilation within a broad footprint,” Simpson says. Conventionally private areas, like bedrooms and bathrooms, are therefore reinterpreted with more openness in mind. For instance, this bathroom’s skylights mirror those found throughout the rest of the property. The bathtub, basins, and showerhead were all purchased at the Australian retailer Reece.

By burnishing historic details and adjusting the floor plan, multidisciplinary studio Loft Szczecin restored and transformed a loft in a warehouse that dates from before World War II. The living room rug is a Polish textile from the 1930s.

Hutchins and Montague worked with Samuel H. Williamson Associates Landscape Architecture on the garden, which is planted with sword ferns, vine maple, and wild ginger. “When we look at it from the bedroom, it’s our private little forest,” Montague says.

Minimal interventions by architect Andrew Simpson allowed this former jam warehouse outside of Melbourne, Australia, to be turned into a family residence. "To draw light and ventilation into what was a poorly oriented and deep footprint, an extensive number of operable skylights were introduced on the north- and south-facing roof pitches, and a large void connecting the floors was strategically positioned to also take advantage of this amenity," Simpson says. American oak floorboards and Dulux paint were used throughout the property for continuity.

Simple wood and brick contrast the industrial character of the concrete and steel, while also serving as sound dampeners.

It’s important to confirm that there are no rotten columns, beams, or other damaged supporting elements before you buy a home.

Linda Hutchins and John Montague hired Works Partnership Architecture to turn a former warehouse and auto repair shop into a versatile live/work space. The building is full of natural light, thanks to 11 skylights and a glass atrium in the center of the space, where a hammock and a vine maple tree sway in the breeze.

Linda Hutchins and John Montague hired Works Partnership Architecture to turn a former Portland, Oregon, warehouse and auto repair shop into a versatile live/work space.

At 500,000 square feet, the Replacements showroom and warehouse is a temple to dinnerware, with every imaginable pattern on hand.

Wood envelops the home’s second story. The floor is made of Brazilian pine salvaged from a warehouse. The walls are also recycled boards, sourced from the ceiling of a conventillo, or tenement, in the La Boca neighborhood, and sliced into 12-inch-wide planks. The ceiling is made of ipe from the NET workshop. In the family room, cushions knit by Teresa’s mother, Griselda Sposari, sit on a Lennon armchair by NET.

Here Tim tinkers with works-in-progress in his studio space, situated across the courtyard from Nathalie’s.

In the upstairs apartment, glass partitions keep the elongated loft open and spacious, while lighting is placed against brightly colored walls to create a cool, atmospheric glow.

The cathedral also is used for cultural events like concerts and lectures.

Although little was done to alter the building’s original form, the firm did demolish an extension that was the site of a mechanical plant. This alteration allowed for an outdoor deck covered with timber decking by Chemisys Group.

Across the street from MAS is the Felix Warehouse, a beautiful building and 230-foot-long arcade renovated in 2006 to house the city archives that date from the 13th century.

On the first floor, a 1950s chaise longue awaits its next owner.

"I’ve heard people say, 'My grandmother had that pattern,' or 'This is what we had Sunday dinner on,' and it brings back feelings," recounts Page.

Threadless Warehouse & Headquarters As befitting the design-focused company, which elevated T-shirt art by building an online community that seemed to print cotton tees and cash in equal measure, Threadless calls this colorful warehouse home, which features art from locals such as Don’t Fret.

A shot of the Oakland sample warehouse.

A production shot of the PH Artichoke warehouse in Denmark. The pendant comes in white, copper, and stainless steel. A gold version was produced to celebrate the pendant’s 50th anniversary in 2008.

“There’s less demand for formal patterns,” Page says. “Some people say, ‘I want to pass this on to my kids, but none of them want it!’”

“The building is listed as a building of individual heritage significance,” architect Andrew Simpson says of this two-story structure in Melbourne. “There was very little scope to alter the exterior.”

In the living room, ethereal white curtains soften the severity of the concrete walls.

A new anthracite zinc roof sits within the walls, and protrudes upward to create extra interior height.

Simpson wanted the design to capitalize on the original floor plan’s abundance of space, but he also hoped to bolster intimacy by making rooms feel fluid. “The master bedroom [opens] at its corner to become a viewing balcony to the ‘central void.'”

They enclosed other rooms in cedar boxes.

This adaptive reuse project in San Antonio transformed an early-20th–century warehouse into a lively design studio. Its open floor plan provides long-term flexibility for future users, while 1,200 square feet of roof space was removed to create a new courtyard while maintaining the original facade.

The living areas and an office are arranged in an open layout around a central atrium that is open to the outdoors.

A former factory for Alexander Thomson & Sons Pattern Makers—a company that made wooden forms which were then cast in metal for propellers—this old building now has a new second floor and an excavated cellar, which has increased its floor space from 3,500 square feet to a whooping 8,500 square feet.

Rolling cabinets by Sandusky proved a handy storage solution in Hutchins’s studio.

Architects William Neburka and Carrie Strickland set off some spaces with walls that stop shy of the bowstring trusses to preserve an overall sense of openness.

Meredith and Mark raised the bed two feet to create ample storage space underneath. They also built the two square bookshelves that flank the entrance; the hanging light next to the bed is vintage 1960s. The slender ceramic Dandelion Vase is by Anyuta Gusakova.

“The fact that the external walls were built to the site’s boundary led to the solution of skylights as the one of the few means of introducing north light and good cross ventilation into the building,” Simpson continues. The hanging lights are from Artemide while the hotplates and cooktops are from Barazza.

Perforated metal screens, one of which doubles as the front door, shield the storefront window from the street.

Mark and Meredith's office—the chair was a flea market find while Meredith built the table. The floor lamp is the Autumn Floor Lamp by Kylle Sebree.

The pieceHome under construction in a warehouse in Kalamath Falls, Oregon.