For many couples, owning a home comes after a substantial amount of time together, maybe even after marriage and children. But Jenna Cook and Brandon Curry aren’t exactly your average couple. Not only did they know they wanted to spend their lives together after less than a year together, they also knew they wanted to buy a home together, which they did.

As happy as we are for the recently engaged couple, it’s the latter decision we wanted to share with our readers because Jenna and Brandon have painstakingly renovated their home from the ground up. We’ve been inspired by the hours of blood, sweat, and tears they’ve poured into their new home and the results they earned as they’ve documented the process on their blog and Instagram, For Richard or Poorer. We think you will be, too.

Tell us about your home! How did you find it and at what point did you know it was right for you?

"Our house is a 1926 shake-sided home located in Ferndale, MI. We knew we wanted to be in Ferndale because it's charming, unique and centrally located — close to Detroit and the suburbs. It took a while to find our home... we wanted something we could renovate but everything on the market at the time had already been redone in ways that we would want to change. Since Brandon's a realtor, he was able to sign me up for emails of new listings. Every day I would check and every day I would see this house. I thought the outside was ok, but the inside had a lot of potential including a lovely library off of the living room. I convinced Brandon to see it (he wasn't a fan of the exterior) and the second we walked in, I knew it was home.

Brandon and I bought the house a little over two years ago - February 3rd, 2017 - one year into our relationship. People would probably thing that was crazy, but I always tell my friends (when talking about relationships) when you know, you know. I knew Brandon was the one the night I met him. We moved in the day we closed and slept on a mattress in the dining room. We immediately got to work with the renovations."

Have you found favorite quirks or unique characteristics?

"Yes, around every corner. Being an old home there isn’t a square wall or flat surface in the house. The walls are plaster and the floors are the original hardwood (for the most part). The home has settled in areas over time creating a lot of unique characteristics. For example, the wall that is shared with the dining room and kitchen — if you drop a marble on the ground it follows the path of the hardwood floors slightly and rolls towards that shared wall. The basement was an original Michigan basement and resembled a skate park with all the slopes and pitched corners. Tiling over that surface was a real blast (not). The wood floors creak in all the right places giving us a vintage security system against cat burglars."

What elements needed to be renovated or restored?

"EVERYTHING (but we are kind of crazy). The home was in excellent shape and many different owners had the pleasure of calling it home over the years. For us, we wanted to make the home ours and everything we’ve ever dreamed of in a home. We are the fourth owner of this house in the past 10 years so there were a lot of different styles and finishes in this melting pot. Our first project that we tackled was refinishing the floors in a darker color. Underneath the bedroom carpeting we found that a previous owner had painted the wood floors surf blue in one room and white in another. The walls and ceilings got painted next, all flat white. When we moved in to the house the wall colors resembled a retirement home. They say Eskimo’s have 50 different words for “snow." Likewise the previous owners of this home had 50 different names for “tan.” We made custom moulding for the home to compliment the style of the home better, replaced all windows in the home with new double-hung windows that actually open now, replaced all light fixtures, and so forth. In every inch of this house, we erased the past styles and made it ours."

How much of the renovation process have you completed yourselves versus hiring out to contractors? What has been the most challenging project to tackle?

"If we are capable of doing something ourselves, we will. Apart from electrical, some plumbing, having the exterior painted and having the hardwood floors professionally done, we did it ourselves. We custom made the trim around the house with a table saw and router. One rainy day we decided to install our own board and batten in the dining room. Everything, even down to hanging a drywall ceiling in the basement, we did ourselves."

What has been the most rewarding part of the project?

"There have been so many rewarding parts of this project besides the obvious answer of having an (almost) completed home just the way we wanted it, but two stick out the strongest in my mind:

One: This project brought the two of us together better and tighter than we ever would have imagined possible. Through all the frustration and stress we were always there for each other for support and help. Even the smallest victories (like ripping up five layers of existing kitchen flooring) were celebrated together. We shared blisters, cuts and most importantly, memories. I’ve never done anything so special in my life. Two: We made an extremely special friend. We couldn’t have done all that we did without the help and support of our hardwood flooring guy, Nick Zeb. We hired him to refinish our flooring, but he stayed until the end. When an extra set of hands were needed to hang cabinets, he was there. When we needed to install moulding and quarter round, he was there. When we even bought all of our outdoor furniture and needed a set of hands (and truck) to pick it up, he was there. Always with a smile and never questioning the project. Our home wouldn’t be the same without him and nor would our lives."

How would you describe your decorating sensibility?

"We start with a blank canvas by painting everything white and take it from there. By using neutral furniture, we then add in the color whether it be through pillows, paintings, or books. Living in a house that’s aesthetically pleasing and comfortable is extremely important to us. Every painting starts off as a blank canvas. It’s about the splashes of color and brushstrokes that make the painting what it is, not the frame."

Do you and Brandon always agree on decorating decisions? How did you navigate mixing your styles?

"Brandon’s more of a neutral guy and I’m all about color, patterns and pattern mixing. But together, we love white walls, clean lines, the color navy, stripes (duh!), accessorizing with books, plants and flowers, traditional mixed with modern, old mixed with new, and everything from Schoolhouse."

Where do you most enjoy spending time in your home?

"In the living room in front of the fireplace playing board games, downstairs watching old movies in the theater room, on the back deck in the summer reading on the couch, baking in the kitchen. I feel like we truly enjoy all of the rooms in our house it makes it hard for us to leave the house. We even eat at our dining room table. Who does that anymore?!"

What are your favorite things to do and places to go in your area?

"Taking George for walks around the neighborhood (when it’s not freezing out) is always fun—we love looking at the homes. We tend to stick around Ferndale for the most part: going out for food and drinks at places like the Fly Trap, Pop’s for Italian and our favorite place for seafood, Voyager. The best thing about where we live is that Detroit is a quick 15 minutes away. Living in the city for 12 years, I tend to stick to the places that have been around forever. The Bronx bar is forever my favorite dive. It’s where Brandon and I went the first time we hung out. The Detroit Institute of Arts is awesome and Belle Isle is beautiful—we’re actually having our wedding reception at the Belle Isle Aquarium this summer. The Redford Theater plays old movies on weekends and the admission is $5 which is awesome. Come summertime, we don’t discriminate. Any place that is dog friendly is good in our book."

How has it been tackling renovations on top of wedding planning? 

"Believe it or not, we’re feeling pretty good about everything. We’re having a small intimate wedding in Northern Michigan so I’ve been trying not to get too stressed about it. The house projects are slowing down and the thing we were most stressed about has already passed. We hosted a housewarming/engagement party for ourselves in September which was mega stressful. Brandon was finishing up the basement and it was just a mess—tools everywhere, dust, you name it. Brandon’s mom came over to help clean because I was just so overwhelmed. We had guests coming over at 6 and at 5:30 I was finally changing out of my dirty clothes and into my dress."

Finally, what’s an ideal weekend at home like for your family?

"George (our dog) and Richard (our cat) on their best behavior holding paws, homemade breakfast by Brandon (preferably pancakes and crispy bacon laid out in the shape of a funny face), a trip to a state park to explore and toss George’s favorite tennis ball, romantic dinner made at home without making a mess of the kitchen followed by board games and Miller High Lifes by the fire and a black and white movie to cuddle up to."

Shop the Space

Earlier this year, our product design team got together at the home of Manager of Product Katie Elliott to start the process of planning our 2020 product collections. For the product designers here at Schoolhouse, creating a modern heirloom is about more than just playing with wood, brass, fabric, and steel in the hopes of making something pretty. They must consider the needs of our customers, our product design values, and the product lines that have come in the past before they ever put pen to paper sketching a new design. Today, we take a peek inside the meeting in order to share a glimpse of what this complex process entails.

After dining on a quick breakfast of croissants, fruit, and coffee, the team gathered to view a presentation of research on Schoolhouse customers. Understanding the customer is a crucial component of the product development process because when you understand a customer, you can see what they need, and when you see what they need, you can design products that solve their problems. Of course, there isn’t just one type of person who shops at Schoolhouse, and a young couple buying a sconce for their rented home will be looking for different things than an international hotelier looking to outfit their newest resort with furniture. But that is why it’s important to spend as much time thinking about each of our different customers as possible.

Next, the team took some time to refresh themselves on the company’s design values, both evergreen and seasonal, starting with a presentation of the 2020 mood board. Each season, Creative Manager Jorie Garcia conceptualizes and curates a new mood board to share with the team. Throughout the year, employees from all throughout the company submit ideas and images to Jorie, who also spends a significant amount of time collecting ideas and images of her own. She then carefully combs through her notes and the suggestions she received to come up with the themes and motifs that will inform the coming season’s products.

There are also more general design guidelines to consider that rarely, if ever, change. These guidelines are presented in the form of questions which the designers must answer.

Does the product have a good story to tell?

Can it be ethically sourced?

Does it solve a problem for our customers?

If the designers can’t satisfactorily answer these questions with a new product design, the product doesn’t make it to the customer. The final consideration to make before product brainstorming can begin is the consideration of product collections from years past. Careful documentation and examination of past products’ successes and failures allows designers to hone the team’s mission to the finest edge possible.

At this point, Katie and Creative Services Manager Jenny Trygg introduced to the team a new lens for viewing our products: the concept of core, fruit and peel. The basic idea here is that the entirety of our products can be viewed as a piece of fruit. The most essential products to our identity as a company are the core products. Products that represent a good example of our style and ethos but that haven’t reached that truly iconic status, are the fruit. It’s in this category that most of our products fall.

Products that are more experimental or seasonal in nature are the peel—these products might include a printed bedding line or a playful colorway on a classic product. These products are aesthetically or conceptually on the edge of our product collections, but they also add freshness and vitality to the whole. By understanding the ratio of products in each category, the design team can consider whether it’s necessary to focus more on developing something more basic and conservative, or something more unusual and trend-bucking. Each collection contains new additions to each category.

With the customers’ needs, the company’s values, and the history of past product lines fresh in their minds, the team then began the brainstorming process. Gathered around a paper easel, the whole team put the weight of their creativity, design knowledge, and skill into the task of creating new products. Unfortunately, that’s all we can share at this point. (Some secrets, after all, are worth keeping.) So if you want to see some of the ideas they came up with, you’ll have to wait for the 2020 product collections to launch.

For many an aspiring chef, the food truck provides an accessible opportunity to showcase their cooking talents. Many of those chefs dream of one day opening a brick and mortar location, but not everyone gets the opportunity. By moving into a literal brick and mortar building in the heart of rural Princeton, Wisconsin, Matt Trotter and the crew behind Horseradish Kitchen + Market became some of the lucky ones. Notably, Matt and crew not only made the transition to a permanent restaurant, but they did so with style, creating a space that’s both timeless and welcoming. After they reached out to show us their charming restaurant, we knew we wanted to share its inspiring story with our readers. The next time we find ourselves in Central Wisconsin, we’ll definitely be stopping in for lunch.

Tell us about Horseradish Kitchen! What was the inspiration for the restaurant and what are your specialties?

"We began as a food truck in 2015 operating out of a little vintage school bus. With little knowledge of the food or food truck industry, my family and a few friends got it up and running. Three years into business, the food truck was its own destination with a steady following. Then in late 2016, two of our most frequent visitors, Alex and Sarah Pearsall, approached us about a building they had just purchased in town. We spent the winter brainstorming and by Spring, we had formed a partnership and demolition of the interior began on our current space.

We’ve always been known for fresh, interesting flavors in the form of sandwiches. We have a local baker in town who makes the most incredible bread and that became the foundation for everything. I would say our most iconic item is The Midwest Beet: layers of pistachio goat cheese, thinly sliced beets, pistachio pesto and greens on grilled ciabatta bread." 

How did you get into cooking?

"Food was always a center of my interests growing up. We were a family of six, so my mom always spent a lot of time in the kitchen - making meals from scratch, baking and always hosting friends and family during the holidays. My dad, an avid hunter, was always bringing wild game home and preparing it. This dynamic of very domestic versus very wild helped me to develop my own style in the kitchen. But I’ve always liked the self-expression that comes with cooking and making it personal. From the menu, to the plating, to the centerpiece, each part is its own creative outlet and its own opportunity to create something beautiful."

What has it been like to cook in a brick & mortar restaurant as opposed to a food truck?

"Well, the biggest difference is now I can stand up straight! I’m 6’1” and the food truck was never tall enough for me so I was constantly hunched over. My goal in our new space was to create a more 'livable' kitchen - less institutional so that it felt like it could be at home. It has become my second-home, surrounded by and sharing all the things I love. Naturally, I’m there more but it’s a place I enjoy spending time. It’s my creative space. Even days we are closed, we often find ourselves in the kitchen making food for each other."

  
How has the community responded to Horseradish Kitchen being open year-round beyond the Summer months?

"We usually closed the food truck down after Labor Day so extending beyond that season was really a change for us. Princeton’s small population (1,200) creates its own set of challenges. We’re a rural community, located in the central part of the state and rely heavily on tourism in the summer. I’ll admit, our expectations weren’t high for the off season. Usually it would just be two of us, prepared for a few tables. Once people started to realize we were still open, suddenly a dead night would turn up a few people, and then a few more, and soon the place was full and we were running around trying to keep up. It was truly inspiring for us — and fuel to keep going. We have some pretty great customers and regulars to be thankful for."   

Your restaurant seems to have a nice blend of homeyness and unique design, and your food truck had an interesting aesthetic of its own. Talk about your personal tastes in design.

"The food truck set the tone for where we are today. I always joked about the truck that there we were making all this food and 80% of the photos on social media were of the food truck or the environment.

What really interests me is the backstory of design. Whether its a chair, a mirror or a piece of art - I think understanding how or why a thing was designed ultimately influences greater design decisions in the bigger picture. When I find myself loving something, I want to know why and will spend hours researching it. The “aha” moment is discovering how one seemingly unrelated thing relates to another. It’s my own form of mystery solving.

When we designed the restaurant space I was very material-focused, seeking out classic materials hoping to create something timeless with a sense of longevity. One of my favorite moments is the exposed cast-iron plumbing hanging from the ceiling over the bar. It doesn’t really call itself out, it’s just a subtle layer and texture.

How did you find out about Schoolhouse and why did you decide to use Schoolhouse fixtures in your restaurant?

"I think through our shared admiration for Sydney Hale Co. candles. I found Schoolhouse when browsing through other Sydney Hale retailers a few years back. I’ve been a fan of Schoolhouse style ever since. The juxtaposition of old and new is what defines Schoolhouse for me and so it felt natural to use Schoolhouse fixtures - to bridge the gap between the old and the new." 

The menu at Horseradish Kitchen does quite a bit of globetrotting, from the “Korean Nachos” to the “New Deli” curried chicken sandwich. How did you come up with your menu items?

"I like having few ingredients do a lot of work. Like the curry in the chicken salad or the Kimchi on the Korean Nachos. Curry and Kimchi are just flavor-filled, and, reportedly, good for you. (We like food that makes you feel good too!) The menu developed over the years on the food truck. Often we’d start with a familiar dish and then we’d played with a few interesting ingredients to make it our own. The Korean Nachos were a complete accident. We were serving a banh mi sandwich that had a jalapeño mayo and kimchi on it. We ran out of bread one day and had a bag of tortilla chips on the truck. We put some leftover pulled pork on them and the banh mi ingredients and it became a classic."

Finally, what things should people visiting Princeton make sure to see?

"Depends what you’re into! If shopping and eating is your thing, you could spend a day here in Princeton, especially during flea market season. Princeton has hosted the largest outdoor weekly Flea Market in the state for over 30 years and is also known for its antique shops. If you like being outdoors, Green Lake is one of the most beautiful attractions. Then there’s canoeing and kayaking on the area rivers and great biking opportunities. One of my favorite local facts is that John Muir (Father of the National Parks) spent his childhood on a farm in the next county over, which is a testament to the natural beauty of the area. Put all those together and there is an impressive amount to see and do!"

Visit Horseradish

Schoolhouse Creative Manager Jorie with her partner Trevor at home

This week, Jorie was kind enough to offer our followers a peek inside her space and answer a few questions about her evolving design sensibility, her passion for the art of weaving, and her favorite vintage shops in Portland.

Describe your home and decorating sensibility.

"For me, the goal of the home should be to reflect the people that live in it. I have a friend that says, 'your home has your face.' It makes me laugh. For that reason, I’m drawn to objects with their own stories to tell. I love an eclectic assortment of objects that coexist in harmony. These things form layers over time. My space is an expression of my life and a capsule of the experiences I have had. When you see that, it’s much easier waiting to buy something you love instead of something to fill a space. There is something really calming about making those decisions in the moment because you know your home will take time, and it will never really be done."

Has your style changed after so many years working at Schoolhouse?

"I have realized more and more that having style is about creating your own rules. I think over time I’ve started to question the inherited wisdom of what things match, coordinate or complement each other. The longer I have been at Schoolhouse, the more I am confident about my space being a reflection of me and my personality. My time at Schoolhouse has helped me to train my eye and trust my gut. I don’t need to follow rules or feel like I need to do what other people are doing, I need to listen to myself and know my home is where I return to be re-energized and be inspired. I want my home to inspire me to do more and be better. This helps me set the intention to go after what brings me joy and be confident with my sense of self."

You’re something of a textile nerd. What are some of your favorite woven pieces in your home?

"Nerd with a capital N. Where to begin... the wool woven coverlet purchased on an antiquing trip that we used as the jumping off point for the Winter + Summer Cotton Coverlet; the traditional textiles from a trip to Portugal; my vintage cotton blanket from Kat + Maouche in Portland, which is a company excited about telling the story of the maker and celebrating craft and tradition."

Wall hanging is an original weaving by Jorie

What’s an underrated style or design movement that you enjoy?

"Sometimes I think the most underrated styles come at the margins. The eclectic artist. A Sicilian grandmother. Quirk and humor aren’t always associated with design, but are integral to my style. I am also excited that there is a call to quality. For example, I’m excited about the renewed appreciation for Shaker design. There’s something timeless about celebrating the importance of material and the skill that comes from really understanding the materials being used."

What’s an overrated one?

An overrated style is going after the look of something over the feeling it provokes in you. Objects and space are similar to a well-cooked meal: you can taste the care and consideration one takes when preparing a meal with love. I believe one can experience the same care with objects and space. Good intentions can’t be faked. 

It almost seems like you don’t own anything new, but that can’t be the case, can it? How often do you purchase something brand new off the shelf for your home, and what kind of things excite you enough to do so?

"The majority of what we have in the home is either vintage or Schoolhouse. There are some items that we have built ourselves—my bed frame, for example. If I’m going to buy something new, it will probably be something unassuming that solves a practical problem. One really exciting thing about being behind the scenes at Schoolhouse is being involved with a development for nine-plus months in advance of a product launch. By the time pieces are available for purchase I have known for months that I want to take it home with me. I think it also helps me edit purchasing new items because I can quickly analyze their life cycle. If I don’t see wanting it in a few years, I don’t need it now."

Do you have any secret thrift shops or flea markets in Portland you’d be willing to share?

"Twist my arm. I have some spots. I have to say that the Marie Kondo documentary has increased available stock at thrift stores and specialty spots. I love Red Snapper, Artifact, Goodwill, occasionally popping onto Craigslist, Stars Antique Malls and Urbanite. I also have family in the Midwest and spend most time visiting antique malls with day trips throughout Michigan and Indiana."

Finally, what’s an ideal weekend at home like for you?

"It is really important for me to make time to exercise my creative interest, so spending time sewing, reading or weaving on my loom. Simple moments are also important, like morning walks on the beach with my pup and breakfast at home, or perhaps a backyard dinner with friends and magically sleeping in the next morning. Rinse, lather, repeat."

Photography by Ellie Lillstrom

Shop the space

When we released the Winter + Summer Cotton Coverlet, we had high hopes that it would strike a chord with people. Woven from 100% cotton and featuring a fully reversible geometric pattern, the coverlet is both classic and distinctive. It was already one of our favorite pieces to style, and to our surprise and delight, it also became one of our most popular home goods products ever. But what everyone who bought or dreamed of buying the blanket may not know is that there’s a unique story behind the piece - a narrative that connects a particular vintage blanket discovered in a thrift store, and a nuanced craft tradition - that makes it even more special to us. 

“A lot of people know about the American tradition of quilting, but fewer know about the parallel tradition of weaving, with the Winter + Summer Coverlet, we got to bring a beautiful, heirloom-quality piece to our customers and also give them a valuable connection to a deep American textile tradition.”

— Creative Manager Jorie Garcia 

Were you to walk into the bedroom of a typical middle class American home during most of the 19th century, you’d probably find a blanket woven from wool, cotton, or linen adorning the owner’s bed. Quilts, which were meticulously crafted over dozens of hours by family members and gifted at weddings and other special occasions, were considered heirlooms too precious for everyday use. Coverlets, woven with speed and skill, were practical implements of everyday life. Some homes contained their own simple four-harness looms for that purpose. But most people didn’t have to weave their own: nearly every 19th century American community had a weaver making a relatively affordable version, which helped spread the use of the coverlet through almost every level of society.

It was one of these coverlets, over a century old, that served as the inspiration for our Winter + Summer Cotton Coverlet. About six years ago, Jorie was at a thrift shop in Michigan on a trip to visit family when she came across the vintage textile. This amazing find featured deep indigo yarn contrasting against a more natural linen colored yarn with a pattern laid out in repeating boxes and grids. It consisted of two woven sheets sewn together down their middle (a common practice at the time required in the making of textiles wider than the loom itself) and the yarn weaving patterns matched row by row. The edges held a lengthy fringe which revealed the quality of the yarn: much thicker than any contemporary woven blanket you’d find, the piece had serious heft that hinted at its ability to protect the user from even the coldest nights. It was bold and rich in detail, but also classic and expertly crafted.

The original 1890's woven coverlet in Jorie's Portland, Oregon home.

“The piece was really, really well made - the pattern was exquisitely done. The repeat is true. The only part where it’s coming undone is the edging, which is just from use. I fell in love.”

Jorie took the piece with her back to Oregon and used it on her own bed for several years. Then, in 2016, the opportunity to introduce our own version of the blanket arose. Jorie, working alongside Product Line Manager Kate Richard, started developing a blanket to release in Fall of 2017. “We wanted to have a piece that could be versatile customers that could be used throughout the house that still had a graphic touch,” says Jorie. “We also wanted something affordable but made from a high quality cotton.” The coverlet living in her own home, gracing her own bed, was a natural fit for the project. Recreating the piece came with its own challenges. While the vintage piece may have been common during its own era, it’s been about a century since hand weaving was a common practice. But this wasn’t the first piece of bedding we’ve developed, and we knew exactly where to turn.

“We work with some truly expert weavers in Portugal and we’re so glad to be able to depend on their expertise,” says Jorie. “It took a while to convey to them that quality was what was most important to us, and not price. They weren’t used to getting directions like that. But once they realized that we really just wanted to nerd out with them about weaving, they got excited too and really helped us bring the piece to life.”

The final Winter + Summer Cotton Coverlet conveys quality with every warp and weft. It’s geometric pattern of navy and white boxes, bars, and checks stays true to the original inspiration piece, as does the substantial weight of the blanket. Thanks to modern machinery, the piece can be woven in one piece, as opposed two that are joined together. Instead of being woven from wool and linen, which are more difficult to clean at home, ours is made from high quality cotton that’s machine washable. Our piece also left off the fringe, which gives it a more modern and clean profile. All things considered, the piece is every bit as practical as its predecessor.

“I think there’s so much beauty in things that are made out of necessity in the truest and simplest form. The piece just feels very straightforward and refined.”

— Creative Manager Jorie Garcia 

By @creekwoodhill

By @amandajanejones

By @francois_et_moi

By @amandajanefranz

By @sunnycirclestudio

Shop the Winter + Summer Coverlet

Many people think about light bulbs in the same way they think about paper towels for their kitchen: purely pragmatic objects that are best purchased generic, in bulk, and at discount. But if you aspire to create a truly warm and welcoming home, this mindset robs you of the unexpected pleasure of finding the perfect bulb to complement every room and light fixture.

On top of that, we here at Schoolhouse often design our light fixtures to be used with specific bulbs. That doesn’t necessarily mean there is only one bulb that will work with the fixture. But if you are going to invest in a quality light fixture in the first place, why not pair it with the bulb that the designer felt would let it shine brightest (figuratively and literally)? To help you navigate the many differences in shape, size, and style of light bulb that are available today, we’ve created the short guide below. If you need help choosing the perfect bulb for your Schoolhouse fixture, feel free to stop by one of our stores or contact our Customer Support team.

Shopping by Type of Bulb

During the past couple decades, several types of light bulb technology, including incandescent, compact fluorescent, LED and others, were competing to become the go-to light source in homes around the world. Today, that competition is mostly over and LED technology is the clear winner. Where in the past the light from LED bulbs was considered harsh and unpleasant, evolving technology has allowed LED bulbs to become softer and warmer. Energy efficiency is also a big plus with LED bulbs, as they use about a tenth of the electricity of an equivalent incandescent bulb, saving you money on your power bill and reducing the environmental impact of lighting your home. LED light bulbs also last much longer than the standard incandescent bulb, and the technology has also become much, much cheaper than it was previously. When you look at the upsides, it’s pretty clear that LED should be the standard for most lighting tasks. 

We also offer a system called Integrated LED on many of our fixtures. The benefit of Integrated LED is that this system is better at controlling the temperature of the LED module, which improves the system’s lifespan compared to its LED bulb counterpart. While a filament LED bulb may only last 15,000 hours, an integrated LED module can be expected to last about 50,000 hours. Depending on how much the fixture is used, you may not have to change the Integrated LED module for years or decades to come. 



While LED certainly represents the future of lighting technology, many people feel there is still a place for incandescent bulbs. The warm, red-orange glow of an incandescent bulb is perfect for decorative use. Incandescent bulbs also come in a variety of unusual shapes and sizes for which you won’t find an LED equivalent. While many LED bulbs are dimmable to one degree or another, incandescent bulbs tend to have a broader spectrum of dimmability. If your lamp or light fixture has an exposed bulb and is used primarily for ambience rather than utility, an incandescent bulb can be a good option.

Shopping by Shape and Size

Light bulb manufacturers use a specific code of letters and numbers to differentiate light bulbs from each other. These codes indicate the shape, size, and base diameter of their respective bulbs. We’ve tried to keep bulb shopping simple by designing all our fixtures (with the exception of the Integrated LED fixtures, which don’t require bulbs at all) to use the same size base. Hence, the letter and number combination on one of our light bulb product pages refers to the bulb’s shape and size.To start, the letter indicates the bulb’s shape. While every letter in the code has an actual meaning, there is nothing particularly intuitive about them. For example, the “A” in A19 (the teardrop bulb most people recognize as the standard bulb shape) literally stands for “arbitrary.” As a general rule, you probably don’t need to worry too much about the letters.

It is important, however, to consider the number indicating the light bulb’s size. When buying bulbs for shaded fixtures, the bulb will have to fit inside the shade. Bulbs are measured in eighths of an inch, and the code number refers to how many eighths of an inch wide the bulb is at its widest point. That is to say, an A19 bulb is 19/8ths of an inch wide at its diameter, or 2 1/8ths inches. The T14 bulb is 14/8ths, or 1 3/4 inches.

Shopping by Brightness

Balancing bulbs of different brightnesses in a room will help to give the space the best combination of utility and ambience. As a general rule, the more activity that takes place in a space, the brighter its lights need to be. Kitchens function best when they have plenty of light to reach into dark cupboards and illuminate work surfaces. Bathrooms always benefit from a bright vanity light for fixing hair or putting on makeup. Spaces like offices and living rooms, however, tend to benefit from dimmable overhead lighting paired with several types of accent lighting.

Most of us grew up thinking about the brightness of a light as measured in watts. The quick and dirty formula for converting watts to lumens is as follows: 1 Watt = ~12.5 lumens

This formula doesn’t quite hold true at higher brightnesses, though. And since most incandescent bulbs have been replaced by LED bulbs, it’s worth retraining yourself to think about lighting in terms of lumens per square foot. For general lighting, you’ll need about 20 lumens per square foot. Elevated surfaces like countertops and tables require a little bit more, usually about 30 lumens a square foot. Work surfaces and vanities work best with 40-50 lumens per square foot. To figure out how many lumens an area you want to illuminate will require, take the square footage of the area and multiply it by the number of lumens indicated above. A 250 square foot dining room, which needs 30 lumens per square foot, will require about 7500 total lumens.

Shopping Light Bulbs by Look

Exposed bulb fixtures give you the opportunity to transform the look and function of your fixture as often as you like. Decorative incandescent bulbs are ideal for providing a warm glow akin to candle light. The Radio Bulb, Edison Marconi, and Edison Beacon bulbs are good options if you want to experiment with how different bulb shapes change the feel of the fixture. Gold and silver tipped bulbs give a bright metallic flash that’s perfect for chandeliers like the Satellite 6, or in sconces like the Alabax. Our porcelain LED bulbs add a different type of refinement to fixtures. Chandeliers like the Vega 5 come alive when paired with the Oval Matte Porcelain LED Bulb, no shade required.

Hopefully this guide has given you the tools you need to know how to shop for light bulbs. Remember that experimentation is the best way to dial in your personal space because every room has its own unique requirements depending on its paint color, natural light availability, amount of work area, and more. Take some time to swap in different shapes, sizes, and finishes of light bulb and watch how your space changes.

Shop Light Bulbs

Schoolhouse first started sourcing from Mudshark in 2008, and the company currently creates the canopies for our Norfolk, Ion, Morris, and Mercantile fixtures, as well as all three sizes of Alabax.

At their Southeast Portland production facility, workers transform humble clay into elegant sculptures that will last a lifetime or longer. Their main processes, which include slipcasting and RAM production, allow for the creation of extremely precise and consistent shapes at a speed that would be almost impossible to reproduce by hand. Getting these processes just right, though, takes a degree of artistry and skill that you can only acquire if you have a true love for ceramics. It’s no wonder that many of their workers are ceramic artists themselves.

Mudshark Studios, founded in 2006 by Brett Binford and Chris Lyon, practices what has become a dying art in the United States: producing custom ceramics at high volumes that are made to exacting quality standards. The company specializes in working with clients to take a drawing, blueprint, or idea, and making it a real product they can offer consumers.

“We had worked with other ceramic studios in the past,”  says Director of Operations Andrew Bohl, “but the Alabax was a complex piece and we had trouble finding someone to meet our demands of volume and quality. One of the best things about working with Brett and Chris is that they’re gung ho about figuring out technical challenges. They weren’t going to let any barriers slow them down.”

For the slipcasting process, a worker pumps liquid clay approximately the consistency of pancake batter into a plaster mold containing a hollow form of the final product being produced. The plaster absorbs water from the clay creating a membrane of dryer clay around the mold’s interior surface. Excess wet clay is then drained away and when the remaining clay within the form is “leather hard” (meaning hard enough to work with but pliable enough to trim) the piece goes off to be trimmed, dried, fired, glazed, and then fired again. The RAM process is much simpler. A worker places a lump of solid clay into a two part mold contained within a large press. When the machine is activated, the bottom of the press rises up and pushes the two halves of the mold together with the clay inside. After releasing the press, the worker takes the newly formed part off the top of the mold and trims the excess clay before sending it off to dry.

Brett and Chris perfected these processes when they were working at the Ceramic Design Group in Steamboat Springs, Colorado in 2000 as they trained under master ceramicist Jonathan Kaplan. “Brett had studied ceramics at Alfred University, and he came to the Ceramic Design Group to expand his experience in mold making,” says Chris. “I had studied fine arts and business, and approached this new experience as a passionate hobbyist.”

While working with Kaplan in Steamboat Springs, Chris and Brett realized that they could use the unique skills they were learning to start their own business. They moved to Portland and it wasn’t long before Mudshark Studios was born.

This was something of a risky endeavor. Starting out in the basement of a Portland home, the duo originally did most of the production themselves. Just making simple deliveries presented its own challenges. “In the early days, Brett would actually just strap like ten Alabaxes to the back of his moped and would deliver them to our factory,” says Andrew. “It was quite a thing to see.” But their dedication eventually paid off. As the craft movement continued to gain traction, they quickly outgrew their humble beginnings and purchased a home to facilitate the increased demand. “In one year, the company tripled from eight to 24 employees and we found ourselves in need of a production facility to support our growing team and business,” says Chris.

Today, their studio continues to grow and diversify. In addition to their custom production studio, they now operate Portland Growler Company, which produces high quality ceramic beer growlers. They also operate the Eutectic Gallery, a fine art gallery that specializes in sculpture and ceramics. But at the core of everything they do is a true maker spirit, the same spirit that allowed them to find success in a business in which so much production had gone overseas. “We just want to support clients and grow the appreciation and value of ceramic work,” says Chris. “All of us here at Mudshark are designers or makers in our own right, so we get excited to challenge and expand our understanding of the medium.”

Shop The Ceramic Collection

That dream took about five years to come to fruition, but judging by the abundance of both nightly crowds and enthusiastic write-ups from the local food media, the wait was worth it. We reached out to the couple to talk about the journey that led them to all the new things they share today: a restaurant, a home, and a growing family.

What brought you to the Pacific Northwest from Washington DC? Did you come out here with a timeline for opening a restaurant or did that idea come along later?

Sara: "I'm from Alaska and had always anticipated returning back West to be near my family (my sister is now our neighbor!) and was lucky enough to fall in love with a man that shared that dream. Finding the right restaurant space took nearly two years but also afforded us the time to grow as a couple (and aspiring business partners) and make sure we were being thoughtful about creating a space that reflected us. We always knew creating our own venture was the master plan, but learned early on that controlling that timeline was a futile process."

How do the restaurant scenes compare between Seattle and DC?

Logan: "The restaurant scene in DC was a little more about opulence—the build-outs seem more expensive and grandiose, compared to Seattle. In recent years, in DC as well as other cities, there seems to be a move further away from fine dining. But I feel like that's always been the case in Seattle. There seems to be a more natural approach to the food and design here, which I can only assume is because of the culture of the people that live in Seattle (naturalists, explorers, hikers, kayakers, etc.) That's a large part of the reason we moved here."

Logan, you have quite a bit of experience in a fine dining context, correct? What made you trade the modernist techniques for a wood oven, shareable plates, and soft serve to go?

Logan: "When I was a young cook, I was very particular about the chefs I worked for. I wanted to work for the most respected chefs and I just assumed that automatically meant fine dining. Those restaurants are great, but none of my friends could go eat there. You're really preparing meals for a slim margin of the population. I always struggled with that. As I got older I came to the realization that cooking food for someone is about hospitality and not about me showing how many techniques I've learned throughout my career.

The restaurants I have always loved really had a sense of the community they were in. Opening my own spot, I wanted regulars, I wanted my friends to stop by and feel comfortable and I wanted our restaurant to be a fun and happy place to visit. I think having shareable plates is one of the best ways to promote that kind of atmosphere. You sit at a table at Homer and you literally are breaking bread with someone. Thinking of that makes me happy. Having soft serve also contributes that atmosphere. I mean when you see soft serve, you think of carnivals and childhood, right?!"

On your menu you write that you always prioritize sourcing from Washington farms. What makes that so important for your menu and restaurant?

Logan: "I'm not a locavore by any means but I do care about high quality products and using products that get me excited to cook. It just so happens that we have amazing farmers around Seattle that grow and raise incredible things! What they grow is the driving force behind the menu. It means I have less control over what’s happening and it forces us to flex our creative muscles a little more. We can't get too comfortable—that would make running a restaurant too easy!"

Talk about the design. What energy or atmosphere did you want to capture?

Sara: "When we started looking at potential spaces to rent, we prioritized older buildings with character and history. That requirement combined with a desire to be close to home meant waiting a bit longer for the perfect space. The building we ultimately landed on is a beautiful stand alone brick building that really set the tone for the work we did on the interior."

"All along, it was important to us to create an atmosphere that felt warm, cozy and inviting—not something people were intimidated by or felt was only appropriate for special occasions. Having said that, as a designer, I also wanted the space to feel special and for it to reflect our personalities as well as the menu. Having two wood burning fires really helps create and reinforce the cozy feel we were striving for, so in that sense the menu and the design intersected perfectly!"

How difficult was the renovation process to get the space to where it stands now?

Sara: "Not easy, though i'm not sure anyone would look back on any major remodel or renovation and say it was easy. There are certain quirks when doing a buildout in an older space that force you to pivot on the fly. Early on, we realized our timeline was strictly aspirational and of course relied heavily on the permitting gods to ensure there weren't any major delays. Ultimately, we ended up opening about five months later than originally anticipated which, while frustrating, came with its own silver lining: we really needed those five months to dial in all the of millions of details that are necessary to opening a restaurant smoothly. The things we've learned will make the next project (should there be one) a lot easier."

The ostrich wallpaper is amazing. Who made it? Do you use wallpaper in your interior design work often?

Sara: "It's made by a small outfit in the UK called Beware The Moon. I had admired that wallpaper when I saw it used in a project years ago, so I mentally stashed it away for future use. The black and white pattern is a great neutral backdrop and the scale is perfect for the large walls and high ceilings. I even considered putting it in our house, but feared that might begin to erode our small semblance of work-life balance! I use wallpaper in my residential design projects as often as possible (i.e. when clients love it as much as I do). I'm glad it's having such a comeback, which means so many great designs and styles to choose from."

Sara, you used to work as a vintage furniture buyer. Were you able to bring any vintage pieces into the space?

Sara: "Indeed! My experiences as a buyer/merchandiser in the vintage furniture world has definitely informed my overall design philosophy, and including vintage items in the Homer aesthetic was very important to me. I didn't want to over-do the “mix and match” look, so I tried to balance some consistency and clean lines with an assortment of older pieces, including a 10 foot antique pine table that sits front and center and is great for large parties. All of our flatware and dishes are vintage (thank goodness for Goodwill down the street). In our bathroom you'll find a mint green vintage wood burning oven which my sister discovered in her basement when she bought her home in Beacon Hill almost 10 years ago. It’s very appropriate for a wood burning restaurant."

Opening a new restaurant usually consumes a lot of a person’s time. What do you do to relax and unwind when you do get free time?

Sara: "It definitely helps that our commute is only two blocks. That has greatly increased our quality of life and given us a little more free time. We're pretty boring. A lot of dog adventures and nights in front of the fire at home. We love trying new restaurants, though more often than not end up at one of our favorite neighborhood spots, Bar del Corso, which is just down the block from Homer. Right now we're just trying to appreciate what little normalcy we have since we're expecting a little girl in July and know our lives will really look different once our first baby arrives. It's gonna be a busy year."

Visit Homer Restaurant

Photography by Belathée Photography

Acclaimed architect Philip Johnson once said, “architecture is basically the design of interiors, the art of organizing interior space.” If the most important element of architecture is the organization of interior space, how crucial then is organizing the objects that fill the space?

As students of design, we’re also students of the way people interact with and organize objects in their home. This curiosity informs our company culture and drives the way we develop products. Over time, it’s also showed that the lines between styling, decorating and organizing aren’t as distinct as one might think. The types of products we create lend themselves to certain decorating aesthetics, lifestyles, and methods of organization that can be adapted to any home. While everyone will ultimately approach decorating their home in their own way, we think these tips can help those who might need a little extra direction. If you follow our blog or Instagram, you’ll probably recognize many of these tips because they prove themselves helpful in so many of the things we do.

Give Every Item a Home

One of the oldest—and truest—proverbs related to tidying up is that true order comes when everything has its own home. Giving every item its own home will allow you to create little compositions all over that combine form and function. For example, you might normally keep your stapler on your desk, but if you know what corner of your desk the stapler sits on, and what plant you want next to it, and what notepad will go nearby, then you can figure out the right lamp to illuminate the area. Throughout the day, you’ll know exactly where everything is. When it comes time to clean, you can restore everything to its proper home and set the space back in order. From a few sundry supplies of everyday life, you’ve created a workstation and a still life arrangement, all in one.

Buy Less, Buy Better

Modern life makes amassing a staggering amount of possessions all too easy. But quantity doesn’t necessarily translate to quality, and learning to let go of unnecessary possessions—or better yet, avoiding collecting them in the first place—will help to keep your home free of clutter. The kitchen is full of examples of this phenomenon, like the knife block, for example. Many people would rather buy an entire block of mediocre knives for their kitchen than spend an equivalent amount on a single quality chef’s knife. A single chef’s knife creates less clutter than a knife block with a dozen pieces. And if you ask any chef, they’ll tell you how that chef’s knife will be more useful, hold an edge longer, and result in fewer injuries than a block of knives made from cheap steel. Translating this philosophy to all of your buying decisions will keep your home clutter free.

Domestic Utility

Decorations are a major source of clutter and disorganization in many homes. Displaying, storing, and maintaining these possessions can be a job in and of itself. Leading with domestic utility when purchasing items for your home is a better alternative to buying things out of the misplaced feeling that you need to fill every bit of empty space. There’s a quiet dignity to an intentionally designed and well-crafted object, and a home filled with objects like this won’t need much decoration.

Mix Over Match

Department stores are usually set up so a customer will “buy the room,” meaning purchase a whole set of furnishings in one go. The pitch here is that buying the room will take the work out of decorating and bring unity to the space. In reality, this often leaves a home feeling lifeless and generic. Plus, if one or more piece gets broken or damaged, it may be difficult to fix or replace, and you now have an incomplete set. It’s much easier to be expressive in your decor when you mix possessions of different styles, eras, and materials. This way of thinking also makes it easier to invest in higher quality items when you need to make a purchase because you can focus your available resources on the thing you really need.

The Art of Wabi-Sabi

There is a point of diminishing returns in organizing where a system that’s too elaborate will actually discourage you from following it. The Japanese term “wabi-sabi” refers to the idea of accepting the inherent imperfection that comes with the patterns of daily life. Learning to allow for a little controlled chaos in certain situations can be a form of organization in and of itself.

As you prepare for the coming months of spring cleaning, consider keeping some of these tips in mind. You might just find yourself living lighter and feeling more at peace with your life, your lifestyle, and your home.

Shop Organization + Utility

Hardware is a detail that’s easy to overlook when redecorating. While big box retailers make it easy to compromise with poorly designed hardware of lesser quality, finding excellent hardware will truly elevate the space. Think about hardware as if it was a fine watch. Yes, it serves a practical purpose, but the sense of sophistication and refinement a well-crafted piece brings is irreplaceable. And if you are willing to make the investment, you’ll be rewarded every time you open a cabinet, close a drawer, or lock your door.

We source our hardware from traditional manufacturers, nearly all of which comes from companies based in the United States, because their skill and craftsmanship are the best way to achieve the quality we demand. Our hardware is also made from quality materials, like solid brass, quartz, and aluminum, and flawlessly finished to customer specifications.

Kitchen

In many homes, the kitchen is a room that hums with activity throughout the day. That’s the reason many modern homes prominently feature the kitchen in an open format living space. It’s also why the kitchen is a great place to invest in beautiful hardware.

Kitchen hardware should be beautiful, but also highly functional, as it gets used on a daily basis. Our Pacific Collection is well suited for this application thanks to its solid brass construction, eye catching hexagonal profile, and refined finish options. The luxurious weight of the design comes through in your hand. The collection is crafted by Colonial Bronze, specialists in fine cabinet and architectural hardware for over 90 years.

For a more minimalist appearance, we offer the Edgecliff Collection. Able to fit into and elevate a wide variety of decors, the Edgecliff series is our most popular hardware family. The sleek bar profile includes a rounded back face which is comfortable in the hand and easy to grasp. Edgecliff isn’t just limited to cabinet and drawer pulls, though. Hefty yet precise, the appliance pull option allows you to match your integrated appliance hardware with the rest of the kitchen. Available in our largest selection of finishes (polished nickel, matte bronze, natural brass, satin copper, satin nickel, and true black) the Edgecliff collection can be resplendent or demure depending on the application.

Bath

Durability and ease of cleaning are important factors in bathroom hardware, but that doesn’t mean you have to sacrifice refined design. With un-concealed mounting hardware and a bent flat bar profile, the Nicolai Collection adds a playful and unexpected industrial look to a bathroom. Made from high quality, solid brass, the collection will hold up through the decades.

The unadorned geometric shapes of the Maxwell Collection are distinctly modern in their appeal. Thanks to a fine lacquer coating, the hardware won’t corrode in the humid bathroom environment, and is easy to clean with some mild detergent soap and a wet rag.

Furniture

We’ve discussed in the past how updating the hardware on an old piece of furniture can give it new life. Whether the old hardware is missing, broken, or just doesn’t fit with your design sensibility, replacing it provides one of the biggest payoffs for the least amount of labor.

The Fairview and Vista knobs can both bring a clean, modern silhouette to any wardrobe, dresser, or armoire. But what makes them truly special is the juxtaposition of materials: rich brass supporting pure crystal that catches every glint of light.

Both the Hive Knob and the Radcliffe Knob can add a sculptural element to your furniture. Considering the broad range of finish options - from matte bronze to true black to satin nickel - these knobs pair with almost any construction material. One of our most popular pieces of hardware is the Alberta Pull. These clean, linear-format pulls infuse any credenza with a sharp, mid-century appeal. 

Door

Door hardware is incredibly important in more ways than one. It’s one of the first thing guests see when entering your home and it provides an opportunity to signal the design of the rest of the home right at the beginning. But it also needs to be sturdy, well-made, and durable through generations because it’s part of your home’s most basic security.

For these reasons and more, we trusted the longtime door hardware specialists at Emtek to create all of our door hardware. Every door hardware set they create is hand-crafted to exacting specifications using only the highest quality materials.

The Melrose Entrance Handleset with Abbott Lever feels as high quality in the hand as any original antique hardware you’ll find. The sturdy Abbott Lever and front handle design gives a strong grip for opening even the heaviest front doors, while subtle fluting around the edges adds depth of character to traditional homes.

Inside, the Tate Door Set with Cylinder Knob has an institutional quality, as if it came from a mid-century office building or school. Available in passage, dummy, keyed, privacy, and other functions, this set has flexible application.

Wall Hooks and Shelves

Finding attractive organizational solutions can be difficult. Luckily, our collection of wall hooks and shelving are created with the same care and attention to detail as all of our products. The Bureau Rack features a solid maple back board with black anodized aluminum hooks providing utility and visual contrast. When you need an honest but attractive wall hook for everyday use, the J Hook is popular for a reason. Meanwhile, the Judy knob offers a triple threat of utility: it can serve as a dummy door handle, a cabinet pull, or even a substantial wall hook.  The Brake Angle Shelf, named for the machine which folds the metal, is as minimalist as it gets. It’s durable, heavy-gauge metal construction holds strong against warping and deflection.



While it can be tempting to cut corners and costs when buying hardware, we always recommend making an investment in carefully designed and well-crafted pieces. An investment now will pay off with timeless beauty and excellent performance for generations to come. 

Shop Hardware

We found the space bursting at the seams with the fabric samples, pillows, blankets, and everything else you’d expect to find in the home of an expert in the art of warp and weft. But we also found a palpable and abundant spirit of creativity that was even more inspiring than the textiles and garments Jenna creates.

Your home is very beautiful. How would you describe its aesthetic?

"Our home is all about joy and warmth. Textile treasures—whether found or passed down—are underfoot, overhead and on every surface! Color, pattern, texture can be found everywhere whether in the furnishings, my kids' artwork or our hand-painted dishes. We live and love in a riotous joyfully chaotic way and our home truly reflects that."  

It looks like there’s a lot of handmade things throughout your home. Does the whole family share your interest in art and creativity?

"We do! My son is a born minimalist and his artwork and creations reflect that practical and elegant aesthetic. My daughter and I make giant messes and plow through art supplies with wild abandon! Glitter spills are a very real thing in our home. We love to spend time creating together, from sewing and making sculptures out of recycled materials to drawing maps and blueprints. We incorporate a lot of ace&jig textile scraps in our artwork—as a no waste company we find a use for every scrap. My son recently sewed little hats for our cats (a party hat for Smudge and a robin hood hat for Tonka)!"

Talk about all the incredible textiles you’ve collected throughout the house. How long have you been collecting them and where did they come from?

"My oldest textiles are remnants and scraps from my grandmothers—both true inspirations. I have been rummaging for and collecting vintage and antique textiles since I was a tween frequenting thrift stores with my mom. Cary and I love to visit flea markets on our travels—Portobello Road, Clignancourt, the Rose Bowl, Brimfield and on..."

When and how did you discover your love for fabric?

"Making things has been an obsession of mine since childhood, especially in three-dimensions. While sewing captured my interest, the things that excited me the most have always been things like knitting and weaving where you can actually build your own design from the very ground up.  The intersection of creativity with extreme precision that these disciplines require is so fascinating.

Textiles hold so much emotion and nostalgia. A scrap of overshot can remind you of your grandmother's bedroom. Memories flood in from a faded floral, a corded texture, a neon stripe and a heavily patched and pieced blanket. The warmth and comfort that come from soft or weighted fabric on your skin: we make doublecloth ponchos that equate to wrapping yourself in a blanket. Fabric feels good."

It’s clear that ace&jig is a company that leads with its values. Could you talk about some of the ethical commitments you’ve made as a company and the values you feel are most important in the fashion industry?

"Our core values mirror the values that Cary and I hold most dear: community, sustainability, giving back, continual improvement and JOY. These values are part of everything we do. We started this brand with the goal of creating clothing that was anything but disposable—to create textiles and clothing that are beloved, passed down, and never simply discarded, and that is still central to our brand. We strive to do this with the least waste possible and in the most ethical way while using our platform and funds to give back. We acknowledge that we can always do things better and actively work to learn, improve and grow. Witnessing the community that has arisen out of these joy-inducing textiles and common values has been the most rewarding part of what we do!

Since the fashion industry is the second largest polluter in the world, there is so much room for all of us to improve. The most impactful thing we can all do is get more wear out of the garments already in the world. This fact has informed so much of what we do, from creating joyful items that are worthy of keeping and passing along, to capping our growth, to fostering the culture of swapping that has arisen out of brand and providing free repairs at our events."  

Finally, what’s an ideal weekend for you and the family? Is it time spent at home, out on the town, traveling?

"We love adventuring! Whether far from home or here in Portland. Getting out of the house, finding something new, taking a train, tram, or boat! Time in an art gallery, or foraging cool sticks in the park. Spontaneous adventures for life."

Shop the space

But if anyone was up to the task, it was Chrissy. While Chrissy’s resume lists her impressive design education and experience, you only have to take a tour through her own home to see the talent on display. Today, we want to take a moment to do just that, as well as introduce our readers to what makes Chrissy such a special part of our team.

What’s your role here at Schoolhouse?

"I’m the Retail Manager at the new Pittsburgh location. There are many parts to the role, but for me, the best parts are collaborating with my team and connecting with our customers."

Tell us a little bit about your background! Where did you grow up and what has your path been to bring you to where you are today?

"I grew up a little ways outside of Pittsburgh. It was a small town and after high school I was craving a big city. So, I moved to New York City for college. I loved living there and taking advantage of all the city had to offer, but I was really missing my family. After graduating, I moved back to Pittsburgh for graduate school where I studied interior architecture. Design has always been a passion for me and it felt like the perfect path for me. But I’ve worked in retail forever and so I moved to NYC to work in visual merchandising. It was a great balance for my professional and educational experience. I also did some freelance interior design work and was really loving that. But again, family was calling and I couldn’t stay away. Pittsburgh had grown so much, that I was ready to move back and stay. After hearing that Schoolhouse was opening in Pittsburgh, I patiently (not actually at all) waited for the hiring process to start. I’ve been a fan for a long time and was so excited be able to work for the company."

How long have you lived in your home and how did you find it?  

"We have lived in our house for a little over three years. We were looking for a house we could make our own and I stumbled across our gem on a real estate website. It had been vacant for over 10 years and needed A LOT of love. But I could see the potential and how fitting it would be for my husband and I to grow into."

What do love most about your home?

"I love all the character. The house was built in 1890 and there were a ton of beautiful details, but the previous owner damaged almost all the trim with drop ceilings and wood paneling everywhere. We tried to keep and reuse what was possible and I love how the mix of old and new turned out."

What would you change if you could? Have there been any challenging projects to date?

"I would have made the closet in our master bedroom slightly longer. There’s a little bit of room where we could have taken it out further, and gained some storage, but it’s not the end of the world. Definitely the hardest project was refinishing the floors. They had been painted several times overtop of the varnish and it was grueling to remove all of the buildup. I cannot tell you how many times we went to buy more sand paper!"

How would you describe your style when it comes to decorating?

"Eclectic. I don’t find myself drawn to one particular style and so it’s hard to settle on one look. Lately, I have been very excited by color and getting that back into our space so I’m looking to find some artwork and other details to amp up the space more."

What are some of your favorite Schoolhouse pieces?

"The orbit 12 chandelier is one of my favorites and any day now, I’ll be ordering one for our living room. I also love all the bedding – not only is beautiful, but the feel of it is out of this world. I had to purchase it as soon as I saw it in person."

What does a perfect day in Pittsburgh look like for you?

"I like to start out with a low key breakfast at Pear and the Pickle – they have Stumptown coffee which is a favorite and hard to find in the Burgh. If the weather is nice, we’ll take our dog Charlie for a long walk on the riverfront past the stadium. There are a lot of geese which Charlie loves to chase. After some downtime, we’d meet some friends for dinner and cocktails at any of many favorite restaurants. If there’s one thing you can love to do in Pittsburgh, it’s eat!"

Our Pittsburgh store in the renovated detective building was a multi-year undertaking. What was the opening process like and what’s your favorite part of the finished store?

"I came into the project at the tail end when construction was wrapping up – for the most part – and it was time to outfit the space. It was so much fun to start from scratch and bring the Schoolhouse brand to life in Pittsburgh. I was able to collaborate with so many different people from Portland and it helped make the space feel dynamic and fun. There were a lot of ups and downs and challenges, but everyone really came together to solve and support. As far as a favorite spot, I’m not sure I could pick just one area. For me it’s a sum of the parts and how great it feels to be in the space."

Shop the Space       Visit Schoolhouse PGH

#1: A Modern Ski Chalet | Contemporary + functional #schoolhouseliving.
"The starting point was a structure with a sloping roof that could shoulder snow load, much like ski chalets sited above the treeline." via @sunsetmag @portlandsunshine. Photo @sunsetphoto. 

#2: An impressive bath remodel | Attic space transformed into a beautiful master bath 
#schoolhouseliving via design @casework.it

#3: The mix beats the match in this stunning
Portland kitchen | Morning light dances in #schoolhouseliving.
See the full before and after.

#4: A modern and upscale traditional style | Farmhouse kitchen retreat #schoolhouseliving 
via @cuttingedgehomes design @finding__lovely

#5: The perfect Easter moment | A morning swim in the kitchen sink #happyeaster #schoolhouseliving via @azurefarm

#6: Clever storage solutions | Growing book collection #schoolhouseliving.
Photo @officialfeatherweight, design @mcelroyarch via @fireclaytile

#7: Tiny A-Frame Cabin | Holiday 2018 is here. Handcrafted and design forward,
each piece is meant to hold a special place in your heart + home #schoolhouseliving.

#8: Open shelving + Schoolhouse wall sconces | Kitchen morning light #schoolhouseliving.
Photo @chelsielopezproduction via @jkath_designbuild @audreycrispinteriors

#9: A beautifully blooming bathroom | Eternal spring. #schoolhouseliving

#1: Branch Abode

If you follow us on Instagram or have popped by our #schoolhouseliving inspiration gallery you have probably spied a glimpse or two of the sweet home of Katie and Tyler Branch, otherwise known as Branch Abode. Both photographers by trade, with a young brood of their own, we’ve found ourselves quite enamored with the dreamy scenes and snapshots they share of their sunny, Schoolhouse-filled home. Looking through their feed, it's easy to feel transported to a simpler time.

See the Tour

#2: Find Farah

On her Instagram account @findfarah, physician, accomplished baker, and friend of Schoolhouse Farah Guy gives her followers a window into her singular vision of graceful Portland living. We find her dreamy life with husband Thomas, Goldendoodle Nora, and cat Nonami a constant source of inspiration.

See the Tour

#3: Ben Carstensen

In a neighborhood full of grand old Victorians and stately Colonial Revival manors, Ben Carstensen’s comparatively modest bungalow stands out in a coat of coal-black paint. It’s not just any black paint, though. It’s a very particular shade of black that’s eye-catching but not garish. Along with a lush garden and forest green vintage Land Rover Defender parked in front, it gives his home presence and personality in a neighborhood known for imposing residences.

See the Tour

#4: Morgan Ford

Morgan Ford didn’t stray far from her roots when building her adult life. In fact, she married the boy down the street and moved into the house next door. The couple then set about renovating the farmhouse (located in rural Western Michigan) and over the years, they turned a once-shabby abode into a cozy, dream-like country homestead. On The White Farmhouse Blog, Ford chronicles her family’s life in this idyllic home.

See the Tour

#5: Francois et Moi

Take a quick look at Erin Francois’ blog Francois et Moi, or her Instagram account of the same name, and you’ll see the seeming effortlessness with which she has created an eclectic yet elegantly understated home. Erin, a lifestyle blogger and DIY enthusiast, has turned her 1936 Tudor duplex in Minneapolis into a demonstration of her innate skill at mixing different styles and eras of design. But what might be even more impressive is the fact that she and husband Ken have completed nearly all of their projects and renovations themselves.

See the Tour

The holiday season can mean many things to people. Not only are there many different holidays this time of year, everyone seems to have a different way of celebrating theirs. Because we have a very diverse work family here at Schoolhouse, representing many nationalities, languages, and religions, we decided to go around the Portland factory and showroom to ask people how they celebrate during the holiday season. Whether you’re a person who wishes Christmas music was playing all year, or you’re a person who mostly just enjoys a big meal and a few days off, we hope you will join us in thinking about how important traditions can be, and how they give us space to treasure friends, family, and the people who are special in our lives.

Brandt - Product Design (top left): "On Christmas Eve, my family turns off the electricity and we spend the whole evening like that. My parents started this tradition when I was a kid (although I’m not totally sure why) and my wife and I have kept it going. We light candles and eat food that doesn’t require power to prepare. Everyone gets kind of bored eventually so we end up going to bed early, which is great for us parents because everyone ends up getting some sleep before Christmas." 

Chelsea - Finishing (top right): "We do this tradition that we thought was an old German family tradition involving a Christmas tree ornament shaped like a pickle. The parents hide the Christmas pickle somewhere on the tree, and the first kid to find it gets joy and good luck, and more importantly, gets to open presents first. I heard recently that this is not actually a German tradition, and that nobody really knows when or how the tradition started. It’s still important to us though, even if it’s not what we thought." 

Andy - PDX Store (bottom left): "We always eat tamales from Christmas day all the way through New Years. My favorite is the pork in red sauce. We make so many at one time that it takes as much as two full days of work, with my mom, my sister, and family friends. I help out too, if I’m in town. They’re kind of the perfect food when you’re busy during the holidays because they’re always ready to eat and they’re delicious." 

David - Engineering (bottom right): "My Christmas tradition with my wife is watching the Christmas Story every year, which I understand is an American tradition. I’m from Scotland, and that’s also where I met my wife, who is from California. Maybe the second year we watched the movie, it occurred to me that this is a very American movie. This little kid gets obsessed with owning a gun and defending his family with it, even though literally everyone tells him it’s a bad idea. Then he shoots his eye out. Go figure!" 

Emily - Marketing (top left): "My dad would make the most amazing biscuits from scratch every Christmas morning. The small pieces of dough cut away from the biscuit rounds were sprinkled in cinnamon to make bite size ‘cinnamon swirlies.’ It was always tough to decide which delicious carb you wanted to eat more of. Now my sister, a long-time vegan, has adapted the recipe and we still gather to enjoy them that morning each year. We are not always able to be together physically at Christmastime, but sharing homemade biscuits from across the country feels pretty special." 

Jeffrey - Finishing (top right): "Every Christmas Eve, my family goes around our neighborhood, house by house, to share the gospel with our neighbors. We stay out for a long time. Then we meet back at our church and have a Christmas Eve service together. Afterwards, we eat a big meal. There is no alcohol, mostly juice and water to drink. We eat a lot of food."

Rae - Assembly (bottom left): "I moved to Portland in October 2016 with two friends. We didn’t have jobs or apartments or anything when we drove up here from Northern California. Luckily, it all worked out eventually, but since we don’t have family up here, we kind of just do our own thing on Christmas. My friends and I will open whatever presents were sent from home, but mostly we spend the day hanging out and enjoying a day off. It’s all about hanging out with friends." 

Jorie - Creative Manager (bottom right): "My partner and I live so far from family that it’s hard to fly home for holidays, so we’ve tried to make our own traditions over the years. We always start with a big, sugary breakfast like cinnamon rolls or pancakes. Not too long after that, our blood sugar spikes and we want something to mellow out with, so we make martinis, eat sardines, and watch Christmas movies all day, like the movie Scrooge. Specifically, the 1970 version with Albert Finney. It’s hard to find but worth it." 

Toni - Assembly (top right): "At my house, we always give our kids Christmas pajamas to open on Christmas Eve, that way they have something special to wear in the morning. The next morning, it’s almost always me going around waking the kids up because I’m usually the most excited. I get up at like 3 am because I’m so excited!" 

Zach - Copywriter (top right): "Every year, I make country biscuits with sausage cream gravy, which is my dad’s favorite food. I never intended to start this tradition—I got roped into it after my dad developed a severe digestive disease. At that time, my mother was only interested in cooking meat-free, gluten-free, plant-based foods for my dad. But since Christmas only comes once a year, and country biscuits and sausage cream gravy is my dad’s favorite breakfast, and since garbanzo flour biscuits with almond milk Tofurky gravy is NOT my dad’s favorite breakfast, I was tasked with making the real deal. Today, my dad is healthy and my mother has declined to comment for this piece." 

Tori - Assembly (bottom right): "I grew up on the White Earth Reservation in Minnesota as part of the White Earth Ojibwe Tribe. Every year, we get together on Christmas Eve and eat a big meal together, something kind of non-traditional. We’ll eat sandwiches or enchiladas instead of turkey and stuffing. Then we practice tribal traditions with my grandparents, like praying in the Ojibwe language, thanking our ancestors, and smudging, which is a purification ceremony that involves burning herbs." 

Jennifer Mathieu - Assembly (not pictured): "Most of our family traditions are ones my husband and I have created for our family. I have three kids, and every year since they were little, we’ve had them choose their own ornament for the Christmas tree. Now they are 21, 16, and 11, so you can see their whole childhoods and young adult lives on the tree. We don’t have room for any filler ornaments. The tree is pretty packed."

From our family to yours, merry Christmas and happy holidays.

You have such a beautiful home! How long have you lived there and why did you pick it in the beginning?

"Thank you! I bought my house eight months ago and was immediately smitten by the natural character and charm of the 1930s cottage. Right when I walked into to the home, I had a feeling it was special with its beautiful, natural bright light, shiplap walls, and original windows. The brightness captured my heart immediately—especially for a gal who is from sunny southern, California."

What room or area do you like spending time in the most?

"This is a tough one, but I would have to say my kitchen. It is on the smaller side, but it has so much quirk and charm. I love the open shelving filled with my favorite plants, cook books, coffee mugs, and local pottery. My vintage black Smeg fridge also adds a bit of old-school vibes that I adore. However, my favorite part of the kitchen is the eclectic rounded nook. I alternate my favorite art pieces on the hall and it’s just a really cozy place hang out. It is the perfect area to read, write, and of course, eat and entertain. I had a good friend that loves to do custom upholstery create some really special warm gray cushions for the bench area. This was the icing on the cake!"

How would you describe your decorating style?

"My style is eclectic but minimal. As a visual artist, I like the design challenge of mixing new and old to create a feeling of nostalgia. I love color and pattern but choose to utilize those design elements subtly through throws, pillows, rugs, and wallpaper. I design from my heart space and value function just as much as aesthetics. I love to entertain and host so having spaces where my friends and family can comfortably hang out and enjoy are really important to me when thinking about the use of each space."

It looks like you’ve really embraced holiday decorations this year. What are some of your favorite holiday traditions?

"I love designing my house for the different seasons and holiday! It is a great excuse to switch things up. One of my favorite traditions is crafting a holiday eggnog cocktail, turning on Christmas music and decorating the tree. Also, since moving to Portland four years ago, I’ve embraced the spirit of Christmas in a new way by chopping down my own tree out in the forest which was quite the experience and oh so Portland."

Shop The Space

Photography by Dawn Photo

Photography by Sunset Magazine

#1: Suttle Lodge 

Those in search of some old-fashioned R&R need look no farther than Deschutes National Forest in Central Oregon. Nestled deep in the mountains out of cell range, you'll find the newly-renovated Suttle Lodge - a year-round resort and rustic getaway that serves up local coffee, fancy cocktails and delectable food in a stylish, vintage camp setting. The 15 acre property, complete with lakeside and camping cabins, a main lodge and Boathouse restaurant, owes its new look to The Mighty Union, the hospitality group launched by a few of the creatives behind Portland's own Ace Hotel. With their trademark nostalgic-yet-minimalist aesthetic, Suttle Lodge has been given new life as a destination for relaxation and adventure.

See the space

#2: Sugarpine Drive-In

One of the most exciting restaurant openings of the summer in Portland’s dining scene came in an unexpected package: a small drive-in restaurant with no indoor seating located on the edge of the metropolitan area. Sugarpine, the new restaurant from chef-owners Ryan Domingo and Emily Cafazzo, serves luscious soft serve, perfect pulled pork, and salads crafted from local produce in a converted gas station right next to the beautiful Sandy River. Having leaned on their fine dining experience when dreaming up the menu, it’s no wonder Ryan and Emily’s restaurant immediately became a must-stop for people day tripping around Mt. Hood and the Gorge at large.

See the space

#3: Good Coffee

Good Coffee first opened in the Richmond neighborhood of Southeast Portland in 2014, and it immediately lived up to its name. Founded by brothers Sam and Nick Purvis, both coffee industry veterans, the company started with a formidable espresso pedigree. But beyond the luxurious lattes and bracing black coffee passed over the counters each day, the café earned a reputation for being one of the most beautifully designed cafes in town. After adding a second café on SE 12th Ave., and a third in Slabtown, the duo has continued to increase their sizeable impact on the city’s caffeine scene.

See the space

#4: Atticus Hotel

The area around McMinnville, Oregon produces some of the finest cool-climate wines on the planet. And yet, while wine may be the central attraction, excited travelers haven’t always been able to find the crucial missing pieces of a luxury vacation in the region. Enter the Atticus Hotel, a brand-new lifestyle hotel in the heart of downtown McMinnville that was built to provide unforgettable stays from the ground up. With stunning art and decor, a new restaurant from Tasty ‘N Sons chef John Gorham, and high-end customer services, the Atticus might even become a destination of its own.

See the space

#5: The Croft Farm 

Many Portlanders have at some point wondered what it would be like to wake up on Sauvie Island, the natural wonderland located in the Columbia River just outside of Portland. But until recently, few have had the opportunity to do so. Protecting the thousands of acres of farmland and nature reserves that make the island a dreamy locale has meant there is almost no traditional hospitality industry to speak of. That’s where Vail and Greg, owners of the first short-term guest rental on the island, come in. The couple had to work hard to establish their spot on the island, but what they’ve created is truly inspiring.

See the space

Join Our Trade Program

Want to share your trade space or design work? Tag #schoolhousesites on Instagram for a chance to be featured in our spaces and designer series. We offer a 10% discount to trade and design professionals, finish samples, sneak peeks and dedicated consultations.

The new space offers a different take on the original idea, with a cheerful, drinking hall-like dining floor and a private dining room. We’re big fans of the couple’s pioneering and, shall we say, intoxicating restaurants, so we caught up with them to ask about how they approached this fresh venture and what's next on their horizon. 

Congratulations on opening in the new space! How is it different from the old space and what was the inspiration behind it? 

"Thank you! It's very much like giving birth - a very personal and challenging endeavor. The space itself is just pretty much opposite the old space. Where the old space was super skinny and long and dark, this space is square and open and airy with tons of natural light. It seemed silly to fight the new space to try to force the old location vibe into it, so we worked really hard to try to translate the aesthetic without forcing it. The space is divided into three areas and each area is inspired by a different aesthetic. The main dining area has what I think of as mid-century Moscow apartment vibes. Parquet floors, wallpaper, a Persian rug on the wall. The server station is a repurposed mid-century hutch. The lounge area is inspired by a Soviet industrial aesthetic. The main focal point are these two metal plaques some of our employees found in an abandoned distillery in the suburbs of Minsk when we went on a staff trip in 2017. The third area is a private dining room. We wanted that to feel a little more Euroglam-chic. There are cut crystal chandeliers, several reproductions of famous Russian works of art, deep red walls that are reminiscent of the Hermitage museum."

Bonnie, you started your career in product design before becoming a chef. Has that background affected your food and the way you approach your restaurants?

"Absolutely. I mean there are some direct effects: the logo, menu design, restaurant design, etc. are all things I have developed. But my background also influences the way I think about food. When I think about developing a new dish, I see it as a design problem. It's hard to describe, but I basically go through the steps of product development. Industrial design *should* always be about the end user. I think about usability and experience just as much as flavor and technique."

Everything from the music to the décor to the pacing of the meal feels very coherent at Kachka. Israel, as the front-of-house guru, what’s the most challenging part of creating that environment for guests?

"My goal is to create an environment that doesn't feel like any other place in Portland or even this country. Continuity is the name of the game here - everything must match. One of the greatest tools I have environment-wise is ultimate flexibility with lighting/sound zones. I love dimmers! Tweaking the lights or music in a way that creates a warmer feel is my constant task. My biggest challenge is the fact that we are in a brand new building. How do you make something feel like Babushka's house when it's concrete walls and 24 foot ceilings? Bonnie and I are always adding to the decor to help create a more warm, home-like environment. Our floor staff is great at conveying that sense of hospitality to help create that warmth too. I'm sure as we settle into our space, things will feel more and more like home."

The new space puts many Schoolhouse light fixtures to good use. How does beautiful lighting contribute to the dining experience?

"Those lights are just perfect for our space! Lighting is everything. The type of light cast can communicate mood. Can put you at ease or on edge. It can encourage you to relax and stay a while or get you to hurry up and get out. We wanted lighting that would transport guests to another time and place and get them to relax and hang out there for a while."

There aren’t many Russian restaurants in Portland, at least by comparison to how many places there are to get pasta, ramen, or tacos. Did you have any anxiety that the concept wouldn’t work here or did you know coming into it that you had something special and different?

"A lot of anxiety for sure! This cuisine doesn't get a lot of love in most of the country (not just in Portland) so most people thought we were crazy and you start to question your decision. Honestly, restaurants have so many intangibles that it's hard to ever know if you have a success on your hands or not. We just feel fortunate that Portlanders are interested in checking out what we have to say." 

If it’s a person’s first time at Kachka, what’s the best way to order?

"We focus heavily on Zakuski which are basically cold dishes meant to accompany vodka. If you are a more adventurous eater, getting the Ruskie Zakuski Experience (a small taste of pretty much every zakuska on the menu) is a fantastic way to start off. Grab a few carafes of vodka infusions to go with it. Our horseradish vodka has somewhat of a cult following. After zakuski, grab an order or two of any of the pelmeni or vareniki. Those are handmade dumplings with various fillings. We have a special type of grill called a Mangal. So be sure to try a skewer or two off that section of the menu. Besides that, I'd say to try anything that strikes your fancy. We have a certain number of dishes that are fixtures, but so many things change on the menu that I don't want to recommend a specific dish that might not be there when you come in."

What are your personal favorite items on the menu these days?

"Potato Vareniki with Caviar Beurre Blanc. Lamb Ribs 'Po Bukharski'. Buckwheat Custard."

Can you tell us anything about your forthcoming Lavka deli project?

"Yes! We are hoping to open that in the Spring of 2019. Lavka is an Eastern European style deli that will feature sandwiches, salads, frozen Kachka dumplings to take home, bottles of Kachka horseradish vodka for purchase, and a well curated selection of our favorite Eastern European pantry and deli staples: cured meats, cheeses, smoked fish, pickles, mustards, etc."

Finally, do you have any late-night, go-to meals in Portland for when you get off work?

"I am a total homebody AND I have two small boys so I have more daytime spots than late night spots. I'm really super into the new Cloudforest space. First off they make amazing chocolate but they opened a cafe that has phenomenal coffee plus pastries from Trifecta. A major bonus is that they always have a couple of their chocolates out for tasting. Even though I've tried every single one of them, I totally pretend it's my first time every time. I'm sure I'm fooling no one."

Visit Kachka

Photography by Ellie Lillstrom

We caught up with Max to ask about the challenges and opportunities of designing within an older, more traditional home. Make sure to read to the end, where he kindly provides his top five interior decorating tips. 

When did you get started with this project and what goals did the homeowners have for the home?

"The clients got in touch with me around this time last year after they had just bought their house and asked if I could help with some furniture and with a ‘light cosmetic remodel’ which turned out to be not so light."

What elements did you like about the space and what things felt like they needed an update?

"The house was built in 1927 in a sort of Georgian style and retained a lot of cool, original architectural details that you wouldn’t see in a newer home. It had gone through a remodel or two or three in the past but nothing was beyond fixing and luckily none of the previous owners did anything awful like add a million ceiling cans or anything. It needed paint inside and out and the kitchen needed an overhaul. There were other updates too like flooring in some rooms, a new fireplace situation, and then less glamorous stuff like attic insulation and other boring, expensive things old home sometimes need."

How did you approach the color palette, textures, and materials used in each room?

"I just kind of wing it with that stuff. I tend to stick with blues and greens and black and white and gray anyway and then bring in color and texture with things like art and accessories. If I overthink palette or try and come up with a cohesive design on paper it never works out."

Do you find it more fun to work from a place that has strong features (like crown molding, hardwoods, and bay windows) or one that is more of a blank slate?

"I like working on old homes that haven’t been ruined yet. The things architects and builders would do in older houses are almost always cost prohibitive now. Too much of a blank slate freaks me out and there’s too many bad, new/modern homes cheaply built around Portland anyway."

What are some of your favorite pieces you brought into the space?

"The clients owned some vintage stuff already so it was fun mixing their heritage pieces with more contemporary items. They also have a batch of art which was fun to mix and match around the house. Modern art looks super dope in old homes. There’s some vintage rugs from Kat and Maouche that help soften the space and I love supporting local businesses."

Can you name some your favorite simple updates or additions to a room that make the biggest impact?

"We were able to do some significant changes in the kitchen but simply swapping out your cabinet hardware is a good way to freshen up even a rental house or apartment. And then you can switch back when you leave and take your hardware with you."

You’ve been updating your own home quite a bit this past year. What was most important for you to accomplish design-wise in your own home?

"I’m a middle child and the middle child is nobody’s favorite so I like having things that no one else can have. Almost all my furniture I designed and had built by a local furniture maker named Nathan Dinihanian. And I’m constantly collecting vintage one-of-a-kind pieces. It’s important that my house doesn’t look like anything I’ve done before and I’m a pretty good client because I listen to everything I say."

It’s clear from your hilarious Instagram that you don’t need to take design too seriously to be great at it. What are your top five Max-Humphrey-approved tips for fun and functional living spaces?

"1. More everything, all the time. 2. Don’t push all your living room furniture against the walls - if you ‘float’ your sofa and chairs in the middle of the room it creates flow and makes your space look bigger. 3. Books are the best design accessory and you can never have too many. 4. Don’t be too precious about hanging art (or too precious about anything). 5. Never play cards with a guy who has the same first name as a city. If you stick with all that everything else is cream cheese."

Shop the Space

Photography by Christopher Dibble

Part of the joy of wreath making is that it allows for so much individual expression, so think of this guide as more of an outline than a strict recipe. Fill your wreath hoop with the foliage, vintage ribbon, and natural materials that you love most during the winter months and this perfect weekend afternoon craft will brighten your doorway with weeks of freshness and beauty.

Supplies: 

• 10-inch metal hoop (available at craft stores)

• Floral shears

• Paddle wire gauge 20-24

• 2 jingle bells

• 1.5 yards ribbon

• Mixed evergreen boughs

• Gloves (if you want to avoid sap!) 

Cut a small bundle of greens and bind it with paddle wire, wrapping tightly three times. Place the bundle angled on the frame and wrap wire around bundle and frame, pulling it tight and making sure not to cut the wire. Keeping the wire intact will help to keep the wreath strong.

Create another bundle of evergreens and lay them angled on the frame, covering half of the previous bundle. Wrap the bundle tightly with wire three times, making sure to leave no lag between wired bundles. This helps keep greenery bundles from sliding around on the frame. Continue this method, alternating foliage in bundles and size, to create dimension and interest in design. 

Once three quarters of the wreath frame is covered with greenery, create a larger greenery bundle and wire it onto the frame in the opposite direction. Cut paddle wire and tie securely onto the frame. Add color and visual interest with seasonal embellishments such as berry springs or dried citrus if desired. Thread through and attach to secure in clusters. 

Thread two bells with a long piece of ribbon and tie on to the wreath where the two last bundles meet, making a bow. Ta-da! Hang your finished wreath on your Schoolhouse Brass Wreath Hook and enjoy!
 

Shop Brass Wreath Hook

Composed of true makers, the small-but-mighty sewing team is responsible for taking huge rolls of fabric and spools of thread and turning them into the beautiful, handmade heirlooms you see in our catalogs. “Being makers to the core, it was really important for us to start producing in-house the products we were dreaming up,” says Creative Manager Jorie Garcia. “Luckily, a sewing team is a relatively manageable operation, so we felt like it was something we could and should accomplish.”

On any given day, if you walk onto the second floor of our factory, you might find our sewing team creating stockings, aprons, travel totes, tablecloths, napkins, pillows, and much more. Cindy Morgan, Abi Mohrmann, and Rachel Rasmussen, the three full-time members of the sewing team, possess a deep bag of sewing skills they picked up from their individual professional and life experiences. Cindy, for example, earned a four year fashion design degree from the Art Institute of Portland, worked as a costume designer for decades, and ran her own sewing business. Rachel, the newest member of the team, taught herself sewing before picking up five years of production sewing experience in companies around Portland. Abi was a committed hobbyist before transferring to the position from elsewhere in the factory.

The three women work in a space about the size of a single-car garage. The middle of the space is taken up by a broad table for measuring and cutting fabric. Around the table are three straight-stitch sewing machines, and two specialty machines known as sergers that simultaneously cut and sew fabric. A few ironing boards and clothes irons (just like the ones you probably have at home) are set up in the lane between the table and the sewing machines. One day they might be stitching a vibrant damask fabric woven in India (featured in our collaboration with ace&jig) while the next they might be cutting heavy canvas for the Schoolhouse Canvas Organizer.

The team works hard to perfect details so subtle you might not even notice them on first glance. For example, every panel on the St. Honore Tree Skirt has to be cut so the horizontal stripes match up perfectly when stitched together. When sewing the Patti Plaid Stocking, they have to pay attention to how they cut each pattern in order to highlight the large scale of the unique Woolrich plaid.

Cindy is the longest tenured member of the team, and we’ve written on here about Cindy in the past because she’s such a beloved figure in the factory. But she’s also a deeply skilled and knowledgeable sewist. She’s been sewing since she was five years old and can draw on decades of sewing experience when problem solving. She knows how to fix the machines and even keeps a collection of specialty sewing machine feet around for modifying machines like a chef keeps a collection of knives for preparing different ingredients. “We’re extremely lucky to have someone of Cindy’s knowledge and skill on our team,” says Jorie, who was involved in bringing Cindy to Schoolhouse in 2013 to set up the department from scratch.

“When I was hired, it was just me,” she says. “I spent a few weeks on the computer placing orders for the sewing machines and getting everything set up.” Having been around to start all of the processes, Cindy functions as the de facto lead of the department. But as with other departments in the Schoolhouse factory, the sewing team functions smoothly in part because every member of the team is trained to perform every necessary task in creating our products. This flexibility lets the team be more efficient and productive, but it also makes for a steep learning curve for new members who are expected to contribute immediately when they’re brought on board.

In spite of the rapid tempo of the job, the Sewing Specialists say they appreciate that their station lets them be a true maker. “We get to take fabric and see it all the way to a finished product. Sometimes we’re even packaging the products before they go out the door,” says Cindy. “There’s a lot of satisfaction in making something beautiful from start to finish with your own hands.”

Shop Sewn In-House

They’ve spent the intervening year turning the property into the ideal homestead for supporting their creative lifestyle, including space for Natasha’s work as an illustrator and the couple’s shared business, Sugarhouse Ceramic Co. Swept up in their woodland lifestyle, enterprising spirit, and smart design sensibility, we reached out to chat with Natasha about life on the farm.  

Why did you choose Vermont? Was it more happenstance or was it a plan a long time coming?

"Brett and I had travelled through Vermont together during a six month trip in our Volkswagen Van a few years back. Besides being an adventure, we kind of viewed it as a shopping trip for places we might like to live someday. Then when we outgrew Seattle (or it outgrew us, rather). We started talking about places we'd like to live and Vermont came up. It was such a lovely green place and reminded me a bit of where I grew up in the Rocky Mountains of Canada, and the cost of living here was so much more affordable than in Seattle. Plus we really wanted to buy ourselves a patch of woods and set up our pottery studio."

How many changes have you made to the property and cabin so far?

"When we purchased the property it was just a land sale. We negotiated for the sale to include a shed the former owners had been using as a makeshift office, and we converted it into a cabin so we could live on the property right away. As soon as we closed on our property we immediately purchased a prefabricated building to be converted into our pottery studio. We spent the winter building walls, wiring, insulation, flooring, and finishing the interior. We also added a little potting shed for storage and garden supplies. We moved onto our property in December and it was too late in the year to do any excavation work for water. So we spent our winter without plumbing, using a portable-potty and showering at the gym. We set up an off grid water system in our little cabin kitchen and carried water in from our well all winter. Then when spring finally came, we were able to do some excavation work to add plumbing and build ourselves a little bathhouse, which we've spent our summer working on. We planted ourselves a little garden and a fruit orchard as well and got ourselves a little chicken coop and 6 chickens, too."

With the cabin, pottery studio, bathhouse, and garden shed, the different activities in your life are broken up among all of these different spaces. Is that difficult or does having that separation help in some ways?

"I work from home so the separation has been really nice, actually. The cabin is just used for  sleeping, watching TV in bed, and we do all of our cooking in there. I have a drafting table in the studio for my day job as an illustrator and the rest of the space is used for our Sugarhouse Ceramic Co. business. We also have a wood fireplace and a couch and hang out area in the studio as well, which is nice. After work it's nice to be able to go back to the cabin and relax in bed, away from the studio. We do spend the bulk of our time in the studio though, it's a lovely cozy place to be, with an espresso machine and a wood stove."

Do you find it’s a challenge to decorate such a small space?

"I've always been drawn to interior design so I like getting to decorate a bunch of different spaces. Designing small means that you're a lot more intentional about what you put in a space. Quality wins out over quantity."

How would you describe your personal style and decorating sensibility?

"I tend to lean toward a neutral Scandinavian look for the backdrop of a space. A lot of white and layered wood tones, simple furniture, and as many plants as possible. I've been adding a few pops of color into some of our spaces lately, in bedding and pillows, but the bones of a space remain very neutral. Then I tend to layer a lot of one of a kind pieces into the space from our travels, thrifted from the Salvation Army and antique shops."

You used to live in an Airstream trailer, and now you live in a tiny cabin. What draws you to these small-scale, unconventional living spaces?

"I think for us it's about choosing a way of life that allows us to live freely. If you're not rich you have to be creative about the way you get what you want and adapt to a lifestyle that is within your means. For us that has meant living small."

How did you find out about Schoolhouse and what was the first piece you bought?

"Brett and I used to take road trips down to Portland back when we lived in Seattle and we had friend who told us to stop by the Schoolhouse factory. Of course we were in heaven, and it became a regular visit every time we went to Portland (which was every few months). The first thing we ever bought at Schoolhouse was a set of turquoise recycled glass tumblers. We still love them and use them everyday, though we have broken a few throughout the years." 

It looks like you were able to tap some maple trees for sap earlier this year. What was that process like?

"Tapping our sugar maples was such an exciting thing for us, it's such a nostalgic winter activity. We bought traditional metal buckets and spouts and did it all the old fashioned way. We drilled our holes and hammered in our metal taps, hanging our aluminum buckets on each hook. Brett and I were giddy when the sap started dripping out of the spouts. We collected the sap and did two separate 15 hour boils to caramelize the sap into maple syrup and it was honestly the most amazing syrup of our lives. When you boil it over wood fire it gets this lovely smoky caramelized flavor and the steam smells like creme brûlée. Watching the clear sap change slowly from a liquid the consistency of water, to a thick golden liquid seemed so magical. We loved it so much we did it twice last season and  can't wait for the next one!" 

What are your favorite ways to eat maple syrup?

"Maple lattes are absolutely incredible. I also make a mean maple granola and we use it in salad dressing with lemon, dijon mustard, oil and salt and pepper, it's the best."

Finally, what are your long-term plans for the Sugarhouse Homestead?

"Our concentration right now is definitely building up our Sugarhouse Ceramic Co. business to something we can do full time. Someday when we have a little more money we'd like to build ourselves a little modern farmhouse on the top of our hill with a built-in greenhouse. We also have plans to build little micro cabins in our maple woods and perhaps host weekend pottery workshops and guests every so often. Our space is such an oasis and we'd love to be able to share that with others."

Shop The Home Tour

In honor of the opening of our Detective Building store in Pittsburgh, Pennsylvania, the Schoolhouse Fall Collection features art and homewares from several local Pittsburgh makers. For this series, we reached out to some of these makers to ask what drives them to create these beautiful artifacts and learn more about their process. Today, we hear from the skilled woodworkers of Kerf, a woodworking studio in Pittsburgh that uses the modern, computer-assisted woodworking tools to create products with a mix of natural material beauty and precise craftsmanship. The Kerf Studio Pencil Case, which is featured in our Fall Collection, exemplifies these qualities. We caught up with the team at Kerf to ask them about their unique process and approach to woodworking.

Tell us about Kerf! Who are you and what do you specialize in?

"Kerf is a vertically integrated design studio, manufacturer, and retailer. Utilizing natural materials and cutting-edge technology, we make well-designed, practical, and sustainable products. We primarily specialize in technology accessories, with our patented all-wood phone cases being our most popular consumer product."

As part of our Pittsburgh Collection, we’re featuring your Studio Pencil Case. How did this product come about and how do you see it being used?

"As creative professionals, we often use a lot of writing tools. Our office has a motley array of cups and bins for pens, pencils and markers, but we found traveling with an organized assortment of tools challenging. We designed the Studio Case to be an intuitive and elegant way to bring your studio with you, and our Pencil Trays are designed to perfectly fit pencils, ballpoint pens, and the Apple Pencil in a magnetic compartment, carved from a single piece of reclaimed Pennsylvania walnut. Anyone who writes, sketches and loves to travel should carry this with them."

How did your company get started?

"In 2012, founder Ben Saks was the Assistant Director of the Carnegie Mellon University School of Architecture wood shop, and it occurred to him that he could use the tools at his disposal to hand-carve a wood case for his iPhone. It proved to be a nice enough case that he began to get requests from family and friends, and once word spread to the greater internet, there proved to be enough demand for Ben to buy a $40 belt sander and grow his business. Since then, Kerf has moved into a repurposed factory and there’s now a small team devoted to designing, making, and selling phone cases and a bevy of other products around the world."

You seem to work in an extremely precise style of woodworking. What are the challenges and payoffs to this method?

"Wood is a temperamental material, and can warp, expand, or contract based on the environment it’s in. While our CNC machines are extremely precise, the biggest challenge is giving the wood enough leeway for it to do what it wants to, without sacrificing the reliability of the product. Our production process is long, finicky, and requires a lot of skilled labor, but the good news is we don’t see a lot of people copying our processes!"

How do you approach designing a new product? What are the design goals you keep in mind?

"We find design inspiration on a daily basis in all aspects of our lives. Some designs are born out of the materials and tools at our disposal, others are inspired by objects we wish we had. When creating new products, the most important thing to us is that what we’re making is unique, useful, and reflects our values of sustainability and aesthetics."

You have an interesting way of sourcing your raw materials through Urban Tree. Talk about how that partnership came about and why you use reclaimed wood.

"I have known Jason Boone (founder of Urban Tree) for a number of years, and when my business started growing, I needed a better source of wood. The scrap bin in the shop was not cutting it. He has all types of Pennsylvania native hardwoods that are kiln dried and ready to carve up. Most of his wood comes from dead or diseased trees that would have been mulched. A lot of the lumber he has is figured, spalted, or otherwise interesting. We’re glad that we have a local partner for sourcing reclaimed wood because avoiding waste and unnecessary consumption are critical to our mission. If we can take an old barn support beam, or part of a tree that fell down in a storm, and make something out of it, not only are we helping reduce demand for new lumber, we are preserving the history of that wood and reducing waste."

What’s it like to be a maker in Pittsburgh? Is there a strong community vibe or is it defined more by independent artisans?

"It’s an exciting time to be a maker in Pittsburgh. There is an active and vibrant community of artists, makers, and business owners. Kerf is involved with Monmade, a nonprofit devoted to providing producers with better access to elements of business success: markets, capital, workforce, space, guidance, and peers. Ben Saks is on the Board of Directors for Protohaven, a non-profit makerspace dedicated to the mastery of design and fabrication. Every year, we see new businesses crop up selling handmade goods, or supporting those that do, more retail stores that source locally, and more events that bring us together and let us celebrate our shared purpose."

Shop KERF CASE

Layer Many Types of Textures

Texture is one of the most important elements in a cozy bed because it can provide warmth you can see and feel. Think about the shaggy coat of a goldendoodle, or the marshmallowy fluffiness of down vest, or the fine softness of velvet. Textures tend to act as insulators because the more voluminous the texture, the more insulation it will provide. But creating a warm bed isn’t just about insulation. Adding visual texture can help make a bed look and feel more cozy. As you can see above, layering our Popcorn Grid Coverlet, the Buffalo Plaid Fringed Throw, and the Painterly Stripe Sheet Set provides a harmony of texture in pattern and fiber.

Add Weight

Bedding that’s too light will never feel as satisfying, even if the temperature of the room is acceptable, but weighty bedding leaves you feeling relaxed and secure. We prefer to achieve that affirming weighty quality by layering blankets and throws over a duvet. If you get too hot, you can strip off layers to find a more comfortable temperature. Keeping an extra throw or blanket on top of your bed also allows you to have a light covering at hand for when you want to curl up for a nap or read a book without getting all the way into bed.

Don’t Forget Pillows

Layering pillows offers many of the same benefits as layering blankets. It gives you extra flexibility for sleep or lounging in your bed throughout the day. Since all of our pillows come with a natural down fill, they provide a luxurious softness and warmth. Pillows also inject texture, color, and pattern into your bedding, leaving it feeling vibrant, plush, and welcoming. Try a combination of textured shams like the Popcorn Dot Pillow Sham, crisp traditional pillowcases, and an accent pillow such as the Varsity Circle Pillow. As always, don’t be afraid to mix over match.

Look Beyond The Bed

Creating an inviting bed is one thing, but a true feeling of nighttime coziness requires giving attention to the things that surround the bed, too. A soft, high-pile rug is indispensable under the sides of the bed so that softness and warmth are the last thing your feet touch at night and the first thing they touch in the morning. It also helps to have layers of lighting around the bed, as softer, diffused lighting will help your brain make the transition from day time activity to night time rest. Keeping anything you might need during the night at your bedside is a good way to make sure you don’t find yourself walking through the cold of night just to get a tissue or a glass of water.

Use Natural Materials

Mother Nature is an unrivaled inventor, and nothing beats natural materials in the bedroom. Our bedding ranges from crisp, clean cottons to naturally luxurious linen, to goose down filling in our comforters and pillows. We use down (always humanely sourced) because synthetics rarely bring the same softness, weight, and warmth. While here in America we don’t always think of linen as being a winter-time material, it’s actually great during the cold months. Throughout Europe, linen is preferred for this use because its naturally hollow fibers hold in the perfect amount of body heat while remaining soft and pliable.

We also love cotton for sheets and duvet covers because it offers a clean, crisp texture and excellent durability. In cotton especially, some people focus on finding the highest thread count. Unfortunately, thread counts are often misleading and beside the point, anyway. We’re more interested in working with skilled, traditional manufacturers who use quality materials. That’s why most of our bedding is made in a region of Portugal known for its textile excellence. When it comes to bedding, investing in the details always produces the best results.

Shop Bedroom

“Patina can be a messy, finicky process that a lot of people don’t want to deal with,” says Schoolhouse Production Manager Andrew Bohl. “But sending parts to a third party ties up resources and requires downtime for shipping and receiving. As a company that often manages the entire life of the product under one roof, we want to have that extra degree of control in both the finish and flexibility of production.”

The application of patina, a process known as patination, has existed in some form or another for centuries. It was originally created as an aesthetic improvement for bronze sculptures meant to mimic the natural patina that develops on the metal over time. Giorgio Vasari, the Italian painter and pioneer art historian, mentioned patination as early as the mid-16th century. Writing about the bronze sculptures of his era, Vasari says, “Some turn it black with oil, and others with vinegar make it green, and others with varnish give it the color of black so that everyone makes it as he likes best.” 

The application process has changed over the years as scientists have figured out what actually causes these effects, but the goal hasn’t. Patina adds a beautiful depth of character to metals that helps keep them looking good for years to come.

So how exactly does patination work? As it occurs on the fourth floor of our factory, the process appears to be as simple as dipping parts in a series of chemical baths. But what happens on a chemical level at each stage is more complex. The parts being patinated come directly from the sandblasting or buffing rooms which causes them to have a thin film of buffing compound or dust. To clean the parts, the “cooks” (our term for people working at the patina station) start by submerging the parts in hot soapy water. Large racks of parts all get washed together for efficiency and to ensure the parts have as similar of a finish as possible. After the hot soapy water, the parts take a quick dip in clean water to remove the soap.

Next, they’re dunked in the “pickle,” a very weak acid which helps to neutralize the pH of the surface of the part. This step doesn’t change the metal at all—it just helps make sure no soapy, alkaline residue follows the parts to the next stage. Once again, they’re rinsed in clean water. After these parts have gone through these preparatory steps, they take their most important bath: the patina bath. Patina isn’t like paint or even powder coating because it’s not something that sits on the surface of the metal. It’s something that changes the metal itself.

Brass is an alloy, meaning it is a mixture of multiple metals (in this case those metals are copper and zinc.) The patina solution is composed of multiple chemicals, some of which bond with the copper and create new compounds. The longer the part is left in the solution, the more compounds will build up, and the darker the part will become. The parts are usually left in the patina bath for anywhere from a few seconds to several minutes. Once the desired color is achieved—warm gold for Natural Brass, chocolatey brown for Matte Bronze, and a dark gunmetal color for True Black—the parts take one final rinse in clean water before they are dried.

The complete process requires an unseen degree of skill from each of the workers. “They use timers for each set of parts, but it’s not as simple as that,” says Assistant Production Manager Jensyn LaDuke. “They have to adjust their timing due to many variables. For example, a cast brass piece will take on patina at a different rate than a spun brass part. At the beginning of the day after engineers have added fresh chemicals to the solution, the patina bath is ‘hot,’ meaning more concentrated, and parts develop patina faster.”

Once the parts are out of the bath, it’s a race to get each part dry as quickly as possible. “The drying process is especially difficult,” says Jensyn. “They move their hands quickly and use the compressed air to blast out of every crease and joint in the metal so keep it from holding moisture. If they don’t move quickly, the patina will be uneven.”

When the patina process is complete, the parts head to the lacquer station where they are given a clear coating to protect the surface of the brass. The parts need to be lacquered within an hour or two because even exposure to air and light for a short period of time without protection can affect the color. After this step is complete, however, the parts are ready to head downstairs to the second floor, where they will be assembled into your favorite lamps and light fixtures.

In-house patination is something that many lighting companies don’t bother with because it’s difficult to perfect at scale. But commitment to details like this is what sets our brass lighting, clocks, and home decor apart from the rest.

Shop Brass Home Favorites

Tell us about yourself! Who are you and what do you specialize in?

"Family meals are my most cherished memories. When I sit at the potter’s wheel I think about those family celebrations, and the bowls that were chosen because they kept the soup especially hot. Or the platter that had to be used because it made the ravioli easy to serve. I remember my mother’s pride in setting the birthday cake she created in the middle of the table. I remember the bucket brigade of heaving platters being passed from one cousin to the next down the infinitely long holiday table at my grandmother’s house.  Every time I make a bowl or platter or cake stand or wine cup I picture it becoming part of someone’s lifetime of communing with family and friends.  Sure, a pot has to look good. But it is even more important that it functions well, feels good when passed, and enhances the food that it carries."

Why do you like working with ceramics? How did you first start?

"I love working with clay because it is so malleable and expressive. And the process is interactive. Sometimes I sit at the wheel with a lump clay and have an idea about what I want to create. Sometimes the lump of clay has a stronger idea of what it wants to become. I feel that some of my best pots develop when I let the clay become what it wants to be, rather than imposing my preconceived plan on it."

As part of our Pittsburgh Collection, we’re featuring your Hand-Thrown Cocktail Plate. What makes this piece special in your eyes?

"The Hand-Thrown cocktail plates are among the pots I’m most proud of. I enjoyed working with the team at Schoolhouse to develop the design. I believe these plates embody the goal of all makers to optimize form and function. These little plates may initially appear quite simple, but a lot of time and effort went into refining the size and shape. A cocktail plate it typically used at a stand-up gathering, so it must feel comfortable to hold and not allow sauce and crumbs to spill out onto the host’s new carpet or the guest’s vintage cocktail dress. The rolled edges of these plates serve both of those functions. I also think they make a bold statement when stacked on a bar or cocktail table. If these plates were factory-made they could be a bit staid, but since they are hand thrown each is slightly different—with its own attitude and personality. A stack of these cocktail plates is like a family—all made of the same stuff, but each one unique."

Some of your work is quite simple and unadorned, while other pieces have more elaborate designs. What’s your creative process like, and how do you know when something is ready to be released to the public? 

"I constantly remind myself 'The enemy of good is better.' Some pots call for elaborate decoration, but most are best left unadorned. I really enjoy carving and altering pots, and sometimes the results can be quite spectacular. But more often than not, the pots that get lots of extra attention end up in my pug mill—squished back into raw clay to make a more simple, honest pot."

How important is tradition in pottery? Do you find yourself working in traditional modes or do you try to work mostly from imagination?

"Pennsylvania, where I live, has a strong tradition of functional, hardworking pottery. I try to create modern pots that spring from those traditional, functional values while embracing today’s casual, streamlined aesthetic."

A portion of sales from your pottery go to the charitable organization Potters for Peace. Talk a little bit your relationship with this group and why you felt the need to give to them.

"Initially I made pots purely for the joy of potting. I gave the pots we could not use to family and friends. One day my wife said, 'We have more pots than friends, you need to find another way to move out some of these pots.' I set up tables of pots to sell at a few local events and could was blown away by the response. I was a bit afraid that selling pots would turn something I loved into a job. So I looked for a way to donate my earnings to something valuable. I discovered Potters for Peace. It is an incredible nonprofit that teaches people in some of the world’s poorest places how to make inexpensive ceramic water filters so their families can have safe, clean drinking water. I donate 25% of all sales to The Clean Water Project at Potters for Peace. There are two ironies in this story: the first is that at the time I was a full-time obstetrician, and I think there may have been greater health benefit to women and children from the pots I sold than from the medical care I provided here in the states. The second irony is that the 'hobby' I loved has turned into a job (that I love). I’m now a full-time potter and a part-time doctor." 

What’s the maker community in the Pittsburgh area like?

"Pittsburgh has a phenomenal maker community. This surprises some folks who still think of us as a gritty steel town. I’ve taken classes locally at The Society for Contemporary Craft, Pittsburgh Center for the Arts, Indiana University of PA, Touchstone Center for Craft and The Union Project (which is a group some of the kindest, most creative, community-minded folks you’d ever hope to meet). Pittsburgh makers are hard-working, no-nonsense supporters of the city and one another. I’m especially fortunate to be one of the makers affiliated with MonMade— an incredible Pittsburgh organization that helps makers like myself thrive and promote the economy of Western PA."

Shop Francis DeFabo

Watercolors by Finn Juhl

Finn Juhl was one of the most well-regarded Danish furniture designers of the twentieth century, and he was also an accomplished watercolorist who used the medium as part of his furniture design process. Watercolors by Finn Juhl provides a look inside Juhl’s design process using his watercolors, sketches and other diagrams.

We chose this book because it’s filled with art so beautiful you might be tempted to cut it out and frame it for your walls. It makes a perfect coffee table book or gift for the design-minded. Being design nerds ourselves, we appreciated peeking behind the curtain on the processes of one of our favorite furniture designers. And as creators of furniture and home goods, we couldn’t help but compare and contrast processes for bringing a piece to fruition.

Dishing Up the Dirt

In this fresh and fulfilling cookbook, Andrea Bemis shares her favorite recipes developed using the produce she grows on her six-acre organic farm just outside Portland, Oregon. As is the case on the farm itself, the recipes are organized and driven by the seasons. The cooling days of fall offer recipes like butternut molasses muffins and collard green slaw with bacon gremolata, while spring harvest pizza with mint & pea pesto, kohlrabi, and chickpea salad accompanies the growing warmth of spring.
 

This book called to us for a few reasons. First, Bemis’ Tumbleweed Farm is located just outside Portland, which gives these recipes and the produce they are built on a local flavor we couldn’t resist. Many of these recipes are also naturally vegetarian, as well as gluten- and dairy-free. But what was most important was that Bemis has an organic and yet elegant way of thinking about food and the ways we share it in our families that appeals to our communal sensibilities.

What Do Grown-Ups Do All Day?

This large-format kids book explores what grown-ups actually do when they go to work all day. Organized into fifteen busy scenes (sort of like Where’s Waldo?), more than one hundred professions are depicted in a distinctive illustration style that’s sure to delight children of many ages.
 

What Do Grown-Ups Do All Day? has an undeniable, almost magnetic quality when you pick it up in your hands that proves it’s an instant classic. Because the concept is simple, it provides just the right amount of informative fun to keep kids engaged for a short or long read. The lively and colorful illustrations will appeal to kids who might be too young for reading but who still want to play along. 

This Brutal World

In This Brutal World, Peter Chadwick takes us on a tour of Brutalist buildings around the world. The term Brutalist, as it relates to architecture, was introduced to the world in the 1950s, and the buildings that define it often contain large amounts of exposed concrete, a repetition in shapes, and a fortress-like, full-site building plan. It quickly became one of the most ambitious and vital new architectural movements in the world, and this unique book dives deep in finding many forgotten or little-known specimens from Soviet bloc countries. Each is rendered in dramatic, black and white photography.

Architecture and interior design are inseparable, and Brutalist architecture in particular has been a big inspiration for us. The building in which our new store is located, the Detective Building, has elements of Brutalism in its big, raw concrete archways and repeating window shapes. Plus, This Brutal Life also comes from Phaidon, one of the premier creative arts publishers. Like all of these books, This Brutal Life is itself a piece of art worth displaying.

Shop Books

“Color is incredibly important when developing a new product.” says Product Development Lead Jenny Trygg. “We are always looking at vintage spaces, furniture, products and textiles for color inspiration. The goal is to select colors that will bring life to your home or office for years to come.” Many good examples of this meticulous color curation can be found in our new Pittsburgh Collection, which takes inspiration from the Detective Building as well as the culture of the city where the store is located, Pittsburgh. Let’s take a look at the story behind some of our favorite colors in this new assortment.

Andy Collection

The most visible color story in this assortment can be found in the Andy Collection, a set of modular stools and tables that overflows with personality. Familiar yet fresh, the collection strikes a balance between pops of color and neutral tones that can be deployed in a variety of settings. The tables are available in four base colors—Ash, Lichen, Pool, and Toffee—with table top options that include Oak and Parchment. The stools are available in the same base options, but each option comes with its own unique color of vegan leather: Ash pairs with Tobacco, Lichen with Forest, Pool with Midnight, and Toffee with Ochre.

Each of these color combinations were specially selected to be mixed with ease while avoiding feeling overly match-y. “We find that spaces are more welcoming when everything doesn’t match perfectly. Mix over match is a mantra we use often,” says Jenny.

The preference for mixing colors over matching is foundational here at Schoolhouse, but in this circumstance, there was another reason it was part of the color choosing rationale—the goal was for the collection to feel reminiscent of the incidental color stories that pop up naturally in institutional settings like schools and offices. Put another way, the product design team wanted to make the Andy Collection feel like it could have occupied the Detective Building throughout its years in operation.

Rogers Ottoman

Taking its name from Pittsburgh-native Fred Rogers, the Rogers Ottoman is as refined yet playful as the beloved entertainer himself. Each piece in this family is upholstered in fabric that looks and feels like it could have been sewn into one of Mr. Rogers’ sweaters. The Brushed Navy Cotton colorway is sophisticated and stately, while the Orange Wool version is bright, fun, and unexpected. Tying these two colorways together is the Confetti Tweed version, which reads neutral from a distance but reveals itself to contain a multitude of brilliant colors upon closer inspection. All three ottomans feature a base hand-crafted from richly textured walnut.

Pittsburgh Edition Ion Lamp and Pittsburgh Edition Steel Waste in Butterscotch

This specially developed high-gloss Butterscotch paint features prominently in the Fall Collection on the Pittsburgh Edition Ion Lamp and Pittsburgh Edition Steel Waste Basket. High-gloss butterscotch isn’t new to Schoolhouse—it was first used on the Alleghany Indoor/Outdoor Sconce—but it found a new voice in the Detective Building.

“We wanted to bring the butterscotch into the Detective Building because we found the warmth of the butterscotch was the perfect counterpoint to the liberal use of raw concrete throughout,” says Jenny. “Neutral tones are integral to our favorite interior spaces, but without some thoughtful incorporation of color a space can easily fall flat, or feel sterile.” From Butterscotch to Navy, Tobacco to Lichen, these colors tell a story we’re excited to share again and again.  

Shop The Collection

Tell us about your home! When did you buy it and how did you know it was the right home for you?

"Our home is 1936 Tudor-style duplex in Minneapolis. When we started our house hunt 3 years ago, we quickly realized we were coming up short with what we could afford for single family homes in Minneapolis. My husband, Ken, found this place the night it hit the market, and we were intrigued by the financial sense a duplex made. We live on the main floor and rent out the upstairs 1 bedroom + den apartment. Ken and I both appreciate the charm and quality craftsmanship of older homes, and we fell in love with the first floor’s plaster arch that separates the living and dining areas. As in many cities, it’s difficult to find well-maintained duplexes. This home was taken care of, but needed modernizing, and it seemed to be the right size project for us at the time." 

While your home is a Tudor, which is usually considered a more traditional style of home, both traditional and modern elements can be seen throughout. How would you describe your decorating sensibility?

"If I had describe my home in a word, it would be collected. I love complimenting the home’s traditional Tudor architecture with meaningful pieces from different eras and styles."

What was the house like when you first bought it and how much work has it required to bring it to where it’s at now?

"The previous owner had refinished the original hardwood flooring and gave it a fresh coat of paint, but the amenities, fixtures and plumbing were original. Each kitchen was equipped with a single electrical outlet, no dishwasher, and a plastic faux metal backsplash that was double stick-taped to the wall. There also was some ice damage in one of the bedrooms, and the backyard was a completely overgrown and forgotten space with a crumbling retaining wall.

Over the past 3 years, we’ve been renovating it room by room. We started by renovating both kitchens, and preparing the upstairs apartment for rent. We added additional electrical throughout, as well as painted, updated lighting fixtures, etc. The Spring after we moved in, we installed a paver patio and rebuilt the retaining wall in the backyard, addressed the ice dams while converting the guest room into Sylvie’s nursery, and replaced the supply/return plumbing lines. Most recently, we converted our back hall into a functioning mudroom space, and painted the exterior of the home.

When I stand back and look at this list, it seems like a lot, but it hasn’t been as exhausting as it may sound. We’re just chipping away at it slowly! Our goal is to bring the home into the 21st century to fit our modern lifestyle, while preserving the original charm."

You’re a big supporter of the DIY movement. Which DIY project has been the most rewarding so far?

"I’d say the most rewarding undertaking was renovating both duplex kitchens when we first moved in. As I mentioned above, the original kitchens were hodge-podges that were lacking modern amenities. Aside from the electrical and plumbing work, my husband, Ken, and I DIY’ed nearly everything together to help it function better and fit our personal style. From adding insulation to the walls to tiling the backsplash, to planking the ceiling, we went to town playing on each other’s strengths, and also learning along the way.

One of my favorite moments of the 1st floor kitchen overhaul is the slatted sink doors we retrofitted from the original cabinetry, painting them to match the new cabinetry and updating the hardware. We were also able to salvage and reconfigure the original 1st floor kitchen cabinets installing them in the upstairs kitchen which was hungry for additional cabinetry and counter space. It saved us a lot, as well as kept them from ending up in the landfill."

At the end of a long day of work in your home, where’s your favorite place to relax for the evening?

"My favorite place to relax at the end of the day is with my family in our living room. The sofa is upholstered in stain resistant fabric, the ottoman is leather and is a great height for Sylvie to play at, and the vintage wool rug is great at hiding spills (lol), and is easy for us to clean, so it’s a kid-friendly space for us all to unwind in."

Which project has been the most challenging or required you to learn the most to complete?

"Our backyard project was a total learn-as-you-go-experience. My husband and I knew nothing about plants and landscaping (envisioning their growth, bloom season, cost, etc.) as well as laying a paver patio. How hard could it be, right? We Youtube’d our way through the paver patio design/DIY, and I’m super pleased with how it came together. But we made some mistakes with landscaping that we’ve since discovered what we should have planted. I learned through that project that my design strengths lie more with interior space than exterior space!"

Do you have any personal rules for mixing styles and eras or do you mostly just follow your intuition?

"When it comes to mixing styles, I think the key is finding common denominators between them. Color palette is the common denominator I rely on most often. In my living and dining areas, I stick to a mostly neutral color palette (I consider denim blue a neutral!) to help bridge the style gaps. In the bedrooms and kitchen, I chose one main color and filled in the look with neutrals.

Another way to help make sense of different design styles is to introduce the contrasting style as a set of two, such as a pair of chairs or pendant lights. It’ll ground the pieces and help them feel intentional. At the end of the day though, rules were made to be broken, and I truly believe that taking style risks are what take a room from good to great."

What are some of your favorite Schoolhouse pieces or lighting and why?

"I love everything from Schoolhouse, but if I have to pick just a few… I’m cuckoo for the Large Luna Pendant in the dining room. I debated whether to do the 12” globe or 16” globe, and I’m so glad I went larger. It’s such a statement piece, without being trendy. The Winter + Summer Cotton Coverlet is another favorite. It’s the most deliciously cozy piece to curl up with, the weave structure is incredible, and the graphic, early-Americana pattern is a total room-maker!"

Shop The Home Tour