GRAPHĒ

A Big CA Housing Bill Will Soon Take Effect—and Everything Else You Need to Know About This Week

noreply@blogger.com (GRAPHĒ) — Fri, 12 Jun 2026 10:56:29 -0700

Senate Democrats suspect that national park fees may be funding Trump’s vanity projects, Philip Johnson’s first home is saved from demolition, and more.

Last year, California Governor Gavin Newsom signed SB 79, a bill that will override local zoning to allow the construction of housing near major transit. The law is set to take effect on July 1 of this year, and some estimate it could add 1.5 million homes. But Los Angeles is already taking measures to dull its impact. (The Los Angeles Times)
Senate Democrats are questioning whether millions in national park entry fees were diverted from park maintenance to fund Trump’s D.C. beautification projects, including renovations to the Lincoln Memorial Reflecting Pool. Adam Schiff plans to launch an inquiry into the issue, demanding greater transparency from the Interior Department. (The Hill)
A new AI real estate app is promising buyers a 30-second analysis of any listing, from valuation scores to estimated ownership costs. But its creator insists the platform is designed to complement, not replace, the work of real estate agents and how they help the buyer. (Inc.)
Philip Johnson’s first residential commission, Booth House in Bedford, New York, is getting a second life thanks to a $2.5 million restoration led by an architect-builder duo determined to preserve the modernist landmark. After sitting vacant for more than a decade, the home could return to the market by 2027. (The New York Times)

An unhoused man living on the porch of a multi-million dollar mansion in London while it remains empty is a stark portrayal of the city’s housing crisis.

Photo by Mike Kemp/In Pictures via Getty Images

One of Britain’s most expensive homes—a $210 million, 45 room mansion in Knightsbridge—has been empty for years, while its only "resident" is an unhoused man living under a makeshift shelter on the front porch. The scene is a surreal representation of London’s housing crisis, where luxury properties are treated as investments rather than homes to, well, live in. (The Guardian)

Top photo by Kayla Bartkowski / Los Angeles Times via Getty Images

NY Design Week’s Coolest Show Was a Feast of Night-Lights—And It’s Up for Two More Weeks

noreply@blogger.com (GRAPHĒ) — Thu, 11 Jun 2026 15:56:32 -0700

East coast galleries Dudd Haus and The Future Perfect turned a town house into a glowing spectacle of zany works from established and emerging designers.

This story is part of Fair Take, our reporting on global design events that looks up close at the newest ideas in fixtures, furnishings, and more.

I’ve moved 11 times since leaving home after high school and in all of those moves the one thing I still really mourn losing is a night-light. It was this small sun with a smiling face, left at my Brooklyn apartment in the winter of 2021 when my partner at the time and I were packing everything we could into one car to drive across the country and move to Los Angeles. I’d had it since I was a kid, this small simple piece of plastic of which there are 1,000 iterations, but when I google "sun smiling face night-light" not a single one of them replicates the warmth and joy of the one I’d held onto for 15 years or so until that point. Somewhere around Ohio on that trip, I sat in the passenger seat crying and frantically tweaking my keywords trying to arrive at an eBay or Mercari result that would bring this night-light back to me.

The close quarters where some of the night-lights are on display ensure that visitors get a closer look.

Photo by David Sierra

I never did find a copy of that light, but an exhibition at New York Design Week offered several suitable alternatives. For their New York Design Week exhibition this year, which is up through June 26, Jonald Dudd partnered with gallery The Future Perfect to present original night-light designs from over 120 designers. The lights are displayed in The Future Perfect townhouse in the West Village, with half in the basement and the other half on an upper floor next to the stairwell. The darkness of the basement was particularly pleasing to me. It reminded me of the darkened Hall of Gems at the Natural History Museum (pre-renovation), the dim lighting making it feel like you’re actually discovering something—which in this case you are, assuming you don’t already have an encyclopedic knowledge of the American design scene.

Stefanie Haining’s 7-Eleven light offers a dose of nostalgia, while Nicholas Baker’s "Reading Man" conjures a sense of personality with just wire, clips, and paper.

Photos courtesy of Jonald Dudd

There’s an LED light covered in faux fur, resembling a radiant tail, by Studio Daae. A twee, striped wooden bow by Lauren Lauer. A snowglobe-like porcelain depiction of 7-Eleven by Stefanie Haining. Nino Chamber’s tiny poplin "Nightshirt" and Nicholas Baker’s "Reading Man" both put me in the mood for bedtime in the best way possible. I’ll admit my bias that there are several pieces by friends in the show too, including Sophie Collé whose hanging chains on "Deco Delight" I’m particularly charmed by, and my boyfriend Cooper Lovano’s "The Gnat and the Bull," a wood veneered piece that’s inspired by the Aesop’s Fable of the same. What I love about night-lights is the particular kind of intimacy you develop with them, given that they’re all you’re seeing in the hours when they serve their purpose. The oddity of most of these designs seems to honor that intimacy—even the relatively simple pieces give you something meaty enough to ponder night after night of use.

Cooper Lovano’s "The Gnat and the Bull" is inspired by an Aesop’s Fable. The curved aluminum and hanging chains lend Sophie Collé’s stationary "Deco Delight" a sense of movement.

Photos courtesy of the designers

See the full story on Dwell.com: NY Design Week’s Coolest Show Was a Feast of Night-Lights—And It’s Up for Two More Weeks
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From the Archive: Designing This Washington State Home Was an Exercise in Scaling Down

noreply@blogger.com (GRAPHĒ) — Thu, 11 Jun 2026 13:56:36 -0700

Homeowners Margo and Greg Plaunt originally had a 3,000-square-foot home in mind, but when their budget shifted, they pivoted to an 850-square-foot plan.

Welcome to From the Archive, a look back at stories from Dwell’s past. This story previously appeared in the July/August 2003 issue.

Five minutes after landing at the airport, I’m in a Seattle cliché: polar fleece, coffee, and a late-model Volkswagen. Chris Patano introduces me to the crowd in the car—his friend (and partner at the firm) Laura Hafermann, their friend Kevin Eckert, and Kevin’s friendly Labrador retriever, Daisy. We’re off to Whidbey Island, to tour the vacation house that Chris and Laura (as Patano Architects) designed, and Kevin (with partner Andrew van Leeuwen, as BuildLLC) built, for their mutual friends Greg and Margo Plaunt.

While Bainbridge Island is one of the most populous of Seattle’s commuter islands, Whidbey Island, about two hours by car and ferry northwest of the city, is the longest, with 148 miles of shoreline. From the interior, Whidbey feels like a Vermont lake town; a sparsely traveled highway wends through wooded marshlands dotted with farms and fraternal lodges. The Plaunts live near the middle of the island, not far from the eastern shore of south Whidbey, home to "artists, liberals, and wealthy retirees," according to Kevin.

We arrive at the 20-acre site after curving through a thicket of scraggly firs and crunching over scrub blown by last night’s windstorm. The Plaunt house was built with minimum insult to the landscape: Only four trees were removed for its dainty 425-square foot footprint and its 750-square-foot grass-crete patio. (Margo painstakingly planted moss in each of the pavers, which will eventually become an indestructible carpet of green.) Most of the land had once been inelegantly logged; Kevin hired local farmers (and half of the local high school) to clear man-high stands of thistle, which took a full four days to burn. He also hewed to a long list of local ecological ordinances (or, as Kevin deems it, "the outside-person tax"). A muddy, spring-fed puddle was declared a potential salmon habitat; on the day I visited, Daisy was bathing in it.

The Plaunt house is—at least to the architects—all about the view. "But it’s not about beating you over the head with it," says Chris, who left the iconic Seattle modernist firm Miller/Hull Partnership in 1999 to start his own firm (Laura left Miller/Hull soon after to join him). They explain the view as a series of layers: the swale leading away from the house, now planted with native grasses; Camano Island just across Puget Sound’s narrow Saratoga Passage; and the snowcapped Cascade Range in the distance.

From inside, the view is framed by a 20-foot-tall wall of windows edged in vertical-grain fir. Downstairs, a small stand of firs fits perfectly in the tall lower panes; upstairs, a door-sized unit, installed sideways, frames the misty peak of Mt. Baker. To understand why the Plaunts didn’t insist on an imposing, single sheet of floor-to-ceiling glass, you have to understand Seattle, where views are the coin of the real estate realm. You also have to understand the Plaunts.

Fourteen years ago, Greg was an art-school graduate from Detroit who found himself parking cars for a living. He wrote a rudimentary computer program for his bosses, and realized that it beat standing outside in the Seattle wet. His company now provides software to the insurance industry. "And this," Greg says, gesturing to his million-dollar view, "is one of the things I got in return."

When discussing the Whidbey site, the Plaunts speak of "the house" as one would a dear, departed relative. They refer not to this house but to the 3,000-square-foot structure originally planned for the land, a vertically oriented showplace with an even more commanding easterly view. But when the dot-com economy foundered—leaving Seattle feeling like a playground after recess—the Plaunts were forced to scale back.

With their grand plans on hold, the Plaunts wanted to "get to know the land." Soon after, however, they just wanted to get the hell out of the 119-square-foot shed Greg had built that served as the property’s only shelter. "I was tired of having to go to the state park to use the bathroom," recalls Margo.

The Plaunts settled on a cabin in the woods. When it came time to design it, Margo had a country-chic vision that Laura describes as "fields of lavender." Greg’s taste tends toward the modern, or at least its popularized incarnation—clean lines, geometric forms, everything neat, gridded, and square. The resulting structure works because it is a series of harmonious compromises.

See the full story on Dwell.com: From the Archive: Designing This Washington State Home Was an Exercise in Scaling Down
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Snap Up This $2M Bubble House Before It Floats Off the Market

noreply@blogger.com (GRAPHĒ) — Thu, 11 Jun 2026 09:56:42 -0700

Located in Pasadena, California, the concrete shell home is believed to be the last surviving Airform dwelling in the United States.

Location: 1097 South Los Robles Avenue, Pasadena, California

Price: $1,950,000

Architect: Wallace Neff

Year Built: 1947

Footprint: 1,204 Square Feet (2 Beds, 1 Bath)

From the Agent: "The Wallace Neff Shell House, carefully restored by its current owners with a commitment to preserving the integrity of Neff’s original architectural intent, remains a remarkably intact artifact of midcentury innovation. The two-bedroom dome dwelling unfolds as a study in organic geometry and spatial efficiency. Beneath the curved shell, a circular living area radiates from a central fireplace, flowing into the kitchen and adjoining bath. The property also includes an over-1,000-square-foot detached studio space, with submitted ADU plans in process with the city. This structure currently incorporates a large, open living space, a bath, and a separate bedroom. Further underscoring the property’s historic significance is a rare Airform-constructed bomb shelter, added in the ’60s, approximately 15 feet below the studio. Originally conceived in 1947, The Shell House stands today as the sole surviving example in the United States of Neff’s visionary Airform construction system. Also referred to as a ‘Bubble House’—a reinforced concrete construction, erected with an inflatable balloon and then sprayed with gunite—this experimental post-war housing concept fuses futurist engineering with sculptural domestic design."

The property is widely recognized as the last surviving Wallace Neff Airform House in the U.S.

Photo by Cameron Carothers

The home is located on an approximately 9,000-square-foot corner lot.

Photo by Cameron Carothers

See the full story on Dwell.com: Snap Up This $2M Bubble House Before It Floats Off the Market
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At Lisbon Design Week, Designers From All Over Grappled With Portuguese Design’s Identity

noreply@blogger.com (GRAPHĒ) — Wed, 10 Jun 2026 14:56:43 -0700

Eighty exhibitions provided more than enough space for makers to reinterpret the country’s craft traditions—or offer a new vision entirely.

When I walked into Lisbon’s Palacete Gomes Freire—a 19th-century palace painted a pastel but punchy shade of yellow—the first thing that my eyes fell on were five wall sculptures made of what appeared to be straw. They hung above the landing of a grand split staircase, an organic, earthy rebuttal to a space that represented the architectural opulence of another era. I’d soon learn that these sculptures are made of bulrush, a tall grass that’s native to Portugal. A chair sitting to the left of the sculptures features a back made of the same material, spun into a nautilus-like swirl, but paired with a clean-lined galvanized iron frame and seat. Though the wall sculptures first attracted my attention, the Cadeira chair is where my eyes rested, called to the pairing of these contrasting materials.

The bunho technique used for Macheia’s Bulrush collection is a traditional Portuguese basketry method that only two artisans in Europe still practice, per the design studio.

Photo courtesy Lisbon by Design

The pieces are by Macheia, a studio led by Lucrezia Papillo and Iany Gayo, who are following in the craft traditions of the country they both now call home, but with a contemporary lens. (Papillo is Italian-German, and Gayo is from Mozambique, but is part Portuguese.) The designers worked with local artisans Manuel Ferreira and Paulo Sousa on the sculptures and Cadeira chair, specifically using the Portuguese bunho technique that’s historically been used for basketry. With these pieces they want to bring the technique to a new context and audience without watering down the organic beauty that’s inherent to the traditional craft.

For the Cadeira chair, Macheia founders Papillo and Gayo collaborated with a blacksmith and a bunho artisan.

Photo courtesy Lisbon by Design

The chair and sculptures are just one example of the direction the country’s design scene seems to be headed in. While its identity has long been wrapped up in centuries-old craft traditions like tilework and embroidery, at Lisbon By Design, or Lisbon Design Week, which runs concurrently with a total of 80 exhibitions featuring work by over 150 makers across 11 neighborhoods, it seemed that the country’s designers—whether native-born or immigrant—were grappling with how exactly to create a new era for the Portugal design scene without abandoning the country’s rich design history.

The work of Grau Ceramica was displayed alongside furniture by Martinho Pita Studio on the upper floor of the palace.

Photo courtesy Lisbon by Design

See the full story on Dwell.com: At Lisbon Design Week, Designers From All Over Grappled With Portuguese Design’s Identity
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Before & After: How a Couple Reimagined Their Minnesota Ranch House With Japanese Design Principles

noreply@blogger.com (GRAPHĒ) — Wed, 10 Jun 2026 13:56:24 -0700

"The goal was to look at things from 500, 700, 800 years ago that are still useful," says homeowner Wes Crouch. "Simple, purposeful spaces will always be in style."

Seeking a more comfortable, livable home isn’t always about square footage. Sometimes, it’s about pace and quality of life. For Wes and Tara Crouch, that realization took shape after living in Seattle for years. With the arrival of their third son, suburban Minneapolis—where Tara had grown up—began to feel like the right place to build a more grounded life close to family. "We had these lives to steward," Wes says. "The desire to be intentional about our home and the space we live in became important."

Before: Exterior

Before: Homeowners Wes and Tara Crouch were drawn to the practical design of the mid-1960s ranch in Saint Paul, Minnesota. "My grandfather built a house close to Seattle, and it was a brick ranch house," Wes says. "I always had fond memories of, gosh, this is highly functional…the fact that the main floor is the main floor."

Photo courtesy of Keep

That philosophy resonated deeply with Wes, who lived in Japan for three years early in his career as an operations manager for an apparel manufacturer. While there, he developed an appreciation for Japanese design and its emphasis on intentionality and restraint. "I loved the architecture and simplicity," he says, fondly recalling a coworker’s 16th-century house in the mountains with no electricity and no running water. "It’s where we would go hang out on the weekends."

After: Exterior

Excavating the lower level allowed the design team to install large windows facing a nature preserve and lake in Wes’s office. Although a handful of windows—including these—and the sliding glass doors off the main living area are new, most of the home’s existing windows were retained as part of the renovation.

Photo by Wing Ho

But the search for a home close to Tara’s family proved unexpectedly difficult. "Everything was a split-level or 5,000 or 7,000 square feet," Wes says with a laugh. "We didn’t need a sport court."

What they wanted wasn’t necessarily a larger house, but one that aligned more closely with how they hoped to live. "It was about quality over quantity—and something we could make our own that didn’t necessarily need to be perfect," Wes says.

The raised, covered porch is reminiscent of a Japanese engawa, a veranda-like transitional space that connects the home to the landscape. The renovation expanded views to the lake with new windows in the primary bedroom and bath, and sliders that replaced a standard solid door in the living area.

Photo by Wing Ho

See the full story on Dwell.com: Before & After: How a Couple Reimagined Their Minnesota Ranch House With Japanese Design Principles
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Sliding Window Shields Adjust Sunlight at This Scottish Country Home

noreply@blogger.com (GRAPHĒ) — Tue, 9 Jun 2026 15:56:08 -0700

The batten louvers temper heat for a new dual-gable extension that expands the residence.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: Aberdeenshire, Scotland

Architect: Moxon Architects / @moxonarchitects

Footprint: 1,185 square feet

Builder: Brudon Joinery

Structural Engineer: Graeme Craig Consulting Engineers

From the Architect: "Moxon Architects has completed an extension to a rural home near Sauchen in Aberdeenshire. The scheme is designed to enhance light, views, and connection to the surrounding agricultural landscape while significantly improving overall environmental performance. The project expands an existing high-performance house with a new living and dining space, office, a principal bedroom suite, and a new entry hallway. The newly created spaces are accommodated within two, single-story pitched-roof volumes, linked by a biodiverse green roof planted with native wildflowers, creating ecological continuity between old and new while strengthening the building’s relationship with the landscape. The resulting architectural composition recalls traditional farms, where the main house forms a tight cluster with a barn and other outbuildings.

"Generous glazing and carefully positioned roof lights align with key points of arrival and movement through the house, drawing daylight deep into the plan and framing long views across the surrounding fields. Beyond providing additional accommodation, the extension unlocks the existing plan, establishing uninterrupted lines of sight through the house and enhancing clarity of movement and space. Built-in storage and window seats complement the light-filled interior and offer the residents practicality and comfort.

"A cost-effective cladding strategy repurposes angled battens, typically used as support, reducing material processing while introducing subtle variation across the façade. Sliding external louvres, informed by nearby farm structures, provide solar shading to the large windows and help prevent overheating without compromising openness or views. A slate roof and galvanized trough-style gutters offer further contemporary reinterpretation of local building traditions.

"From the outset, performance and sustainability have been central to the project, which has been designed to Passive House standards, and which has raised the home’s EPC rating from B to A. High levels of insulation, triple-glazed south-facing windows, louvers, and mechanical ventilation with heat recovery and other services are integrated seamlessly into the architecture and work together to maximize comfort and minimize energy demand. Material selection prioritized low embodied carbon and local procurement, with the timber kit, doors, and bespoke plywood furniture fabricated within 10 miles of the site, supporting regional manufacturing and reducing transport emissions."

Photo by Moxon Architects

See the full story on Dwell.com: Sliding Window Shields Adjust Sunlight at This Scottish Country Home
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Camp Is in Session at This $1.9M Michigan Getaway

noreply@blogger.com (GRAPHĒ) — Tue, 9 Jun 2026 10:56:46 -0700

With a triple bunk bed, a pool, and patio seating for 10, this home near Lake Michigan is basically built for long summer days.

Location: 13892 Rea Avenue, Harbert, Michigan

Price: $1,895,000

Year Built: 2022

Architect: UrbanLab Architects

Footprint: 3,000 Square Feet (4 Bedrooms, 4 Bathrooms)

Lot Size: 0.49 Acres

From the Agent: "Designed by UrbanLab Architects, the four-bedroom, four-bath home is centered around a private courtyard oasis featuring a gunite pool, eight-person hot tub, firepit, and beautifully landscaped grounds. Large windows and oversize sliding doors flood the home with natural light while framing views from nearly every room. The living area is anchored by a kitchen with custom terrazzo counters, premium appliances, and a large island with bar seating. A dining area with seating for 10 and a comfortable lounge open directly to the courtyard. Built-ins, radiant heated concrete floors, custom lighting, and a sleek gas fireplace complete the space. The thoughtfully designed multiwing layout offers exceptional privacy, with four en suite bedrooms positioned to overlook the courtyard. A custom-built triple bunk room adds a fun and functional touch. A den with expansive windows offers a perfect space for work, relaxation, or games. Additional amenities include a three-sided screened porch with second fireplace, outdoor shower, barbecue grill, Tesla charger, spacious lawn, and mature landscaping. Technical amenities include zoned radiant heating throughout, additional three-zone cooling, and on-demand water heating."

With a triple bunk bed, a pool, and patio seating for 10, this home near Lake Michigan is basically built for long summer days.

Photo by Erin Watson

See the full story on Dwell.com: Camp Is in Session at This $1.9M Michigan Getaway
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This $1.2M Oregon Retreat Is Part Homestead, Part Tuscan Villa

noreply@blogger.com (GRAPHĒ) — Mon, 8 Jun 2026 13:56:34 -0700

Set beyond a gated drive, the 35-acre property has a pool, a barn, and an apple orchard, plus a backstory featuring cows, friars, and an owner-builder with a thing for arches.

Location: 57255 North Bank Rd, McKenzie Bridge, Oregon

Price: $1,195,000

Year Built: 1978

Last Renovated: 2020

Footprint: 2,913 Square Feet (4 Beds, 2.5 Baths)

Lot Size: 35 Acres

From the Agent: "In the heart of McKenzie Bridge, Oregon, this 35-acre property unfolds: a Mediterranean-style home, swimming pool and hot tub, barn, seasonal pond, and additional structures set within an open clearing. Private, expansive, and connected to the landscape, it’s a place for gathering and retreat, and it’s open to what comes next. Shaped over time by those who have lived, built, and passed through, it carries a quiet sense of history, from its original maker to stories embedded in the land itself. Emerging from the surrounding forest, the home and outbuildings sit intentionally within the clearing, forming the beginnings of a small compound. The architecture stands apart from its surroundings, a Mediterranean vision rarely found in the Pacific Northwest. The original builder began with the pool and signature arches, shaping the experience of the land first and the home around it. That intention continues to define how the property lives today. It’s set within one of the region’s most expansive landscapes, with access to the McKenzie River, Clear Lake, and Hoodoo Recreation Area, which places fishing, hiking, mountain biking, off-roading, golf, and seasonal recreation within easy reach. A local fixture, the McKenzie General Store and Obsidian Grill, sits just down the road. With 35 acres, a barn, orchard, and additional structures already in place, the property also offers forested acreage and timber, creating opportunities for stewardship, use, and long-term value."

The covered terrace (complete with a built-in hot tub) frames the pool and forest through a row of white arches. According to the current owners, the original owner-builder constructed the pool and the arches before building the house itself.

Photo by Bryan Daugherty

The main living area opens directly to the terrace and pool, visible through sliding glass doors. The room also has one of the home’s two fireplaces.

Photo by Bryan Daugherty

See the full story on Dwell.com: This $1.2M Oregon Retreat Is Part Homestead, Part Tuscan Villa
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Spend Quiet Days by the Water in This Gabled Niagara Escarpment Retreat, Asking $1.4M

noreply@blogger.com (GRAPHĒ) — Fri, 5 Jun 2026 14:56:28 -0700

Towering trees, curated landscaping, and open clearings create a sense of balance between refinement and wilderness.

120 Mimi Cres in Meaford, Ontario, is currently listed at $1,454,148 by Kevin McLoughlin and Kerri-Ann Brownlee at Sotheby’s International Realty Canada.

Set within the prestigious enclave of Rockcliffe Estates, this property spans approximately three acres of beautifully varied landscape, offering a rare combination of privacy, natural beauty, and breathtaking Georgian Bay views. With its pie-shaped configuration and ideal western exposure, the setting is designed to capture golden afternoon light and sunsets over the Bay.

Surrounded by mature forest, the property feels deeply connected to its natural surroundings. Towering trees, curated landscaping, and open clearings create a sense of balance between refinement and wilderness—offering both peaceful seclusion and inviting outdoor space to enjoy throughout the seasons.

A defining feature of the land is Waterton Creek, a living waterway that winds through the lower portion of the property. This tranquil, ever-changing natural element brings with it the gentle sound of flowing water, abundant wildlife, and a sense of calm that is impossible to replicate. Accessible via a scenic descent through the treed hillside, the creek and its surrounding lands extend the usable footprint of the property and create a truly unique recreational retreat.

Just moments from the shoreline, the property also offers immediate access to southern Georgian Bay. A short walk or quick drive leads to a shallow, rocky beach—perfect for launching a paddle board, enjoying a swim, or spending quiet days by the water.

With ample space for future enhancements such as a detached garage, pool, or additional outdoor living areas, the property presents both a finished vision and an opportunity to further personalize. Whether enjoyed as a peaceful year-round residence or a four-season escape, this is a setting that captures the very essence of life along the Niagara Escarpment and Georgian Bay.

Crafted with a focus on enduring quality and understated luxury, this newly built residence by J.M. Hartman Holdings Inc. showcases a thoughtful blend of refined materials, advanced building practices, and timeless design. At the heart of the home, the main living space is anchored by a striking Rumford wood-burning fireplace, clad in a French country blend stone and detailed with a classic herringbone brick firebox—both a visual centerpiece and a highly efficient source of radiant warmth.

Surrounding it, engineered white oak flooring in a sophisticated chevron pattern brings warmth, texture, and continuity throughout the main level. The kitchen is equally impressive, appointed with Nile Gold sintered stone countertops and backsplash—an ultra-durable, heat- and stain-resistant surface—paired with a fully integrated JennAir NOIR appliance suite. Custom millwork and cabinetry, carried throughout the home in white oak and walnut tones, reflect a consistent attention to detail and craftsmanship.

Designed for comfort in every season, the home features a hydronic in-floor radiant heating system on the main level, delivering consistent, energy-efficient warmth, while a separate forced-air system services the upper level with both heating and air conditioning. Additional electric in-floor heating in the upper bathrooms enhances everyday comfort.

Built with performance in mind, the home is fully insulated with closed-cell spray foam, achieving superior thermal efficiency and air sealing well above standard construction requirements. A heat recovery ventilator (HRV) and integrated humidification system ensure balanced air quality and year-round comfort.

The exterior reflects the same commitment to longevity and design, with pre-aged white cedar cladding, a durable corrugated metal roof, and a combination of large-format aluminum and vinyl windows that maximize natural light while framing the surrounding landscape.

Further enhancing the home’s functionality are thoughtfully integrated systems including a 4,000-gallon cistern water supply with advanced filtration and UV purification, low-voltage Lutron lighting throughout, and a pre-planned elevator shaft for future accessibility.

Listing Details

Bedrooms: 4

Baths: 3 full

Square Feet: 3,781

Plot Size: 3 acres

Courtesy of Sotheby's International Realty Canada

See the full story on Dwell.com: Spend Quiet Days by the Water in This Gabled Niagara Escarpment Retreat, Asking $1.4M
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Risa Boyer Revamped This $2.8M Portland Midcentury From Top to Bottom

noreply@blogger.com (GRAPHĒ) — Fri, 5 Jun 2026 10:56:15 -0700

The down-to-the-studs renovation sought to preserve the 1957 home’s character while introducing upgraded systems, new finishes, and a high-performance building envelope.

Location: 6055 SW 90th Ave, Portland, Oregon

Price: $2,850,000

Year Built: 1957

Renovation Architect: Risa Boyer Architecture

Footprint: 4,083 square feet (5 beds, 4 baths)

Lot Size: 0.36 acres

From the Agent: "After more than two decades working at Nike, Chris and Megan Carle began imagining a home that reflected their active Pacific Northwest lifestyle and the architectural influences they had admired while traveling the world. Drawn to the philosophy of midcentury developer Joseph Eichler, they began searching Portland’s limited inventory of authentic midcentury homes. They eventually discovered a 1957 post-and-beam house tucked into a former fruit orchard, surrounded by massive heritage oak trees. Portland architect Risa Boyer helped guide the design, while high-performance builder Josh Salinger advised on achieving a durable, energy-efficient building envelope. Rather than altering the footprint or layout, the renovation focused on rebuilding the home from the inside out while preserving its defining architectural features, including the dramatic vaulted post-and-beam ceilings that greet visitors upon entry. Taken down to the studs, the home was reconstructed with meticulous attention to performance and comfort. At the heart of the house sits a generous chef’s kitchen, equipped with Miele appliances and Sub-Zero refrigeration surrounding a large central island. A reengineered rear wall introduces a large multislider door system, opening the kitchen and living room to a courtyard backyard and pool. Stephanie Kjar Roth of Foxy Den advised on optimizing the interior material palette, ensuring a cohesive balance of woods, ceramics, and natural textures. Curated with interior designer Allie McGory of Lille House, the interiors blend Scandinavian restraint with midcentury icons, including Eames and De La Espada pieces, and a vintage DK3 shelving system."

The 1957 home’s recent renovation, which was completed in just 10 months, sought to preserve midcentury-modern details while dramatically updating its performance for contemporary living.

Photo by Justin Jones, Jones Media Shop

Much of the tile throughout the home is by Heath Ceramics. The custom walnut and oak cabinetry is by Artisan Woodworking.

Photo by Justin Jones, Jones Media Shop

See the full story on Dwell.com: Risa Boyer Revamped This $2.8M Portland Midcentury From Top to Bottom
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Budget Breakdown: How Ceramicist Joe Skoby Traded Up for His Family’s Dream Home in San Diego

noreply@blogger.com (GRAPHĒ) — Fri, 5 Jun 2026 07:56:31 -0700

He and his wife, Cristiana, revitalized a run-down property for less than $250K partly by swapping his coveted work with friends and vendors.

For several years, Joe and Cristiana Skoby rented a home just one blissful block from the beach in San Diego’s La Jolla neighborhood. It was a historic adobe cottage with a garden they had filled with lush plants. Joe, a fishmonger and ceramicist known for his textured surfaces and organic, knocked-in shapes, had a tiny studio under a corrugated roof. "Joe is the oldest soul you can meet," Cristiana says. "And I’m from Europe—I didn’t mind a smaller place. But it was 907 square feet with two bedrooms and one bath. We had a growing business and a growing family."

Cristiana and Joe Skoby spent two years looking for a house that would accommodate their family of five, could be a canvas for their Italy-meets-California style, and would fit their budget.
They were able to turn a dreary 1960s house in San Diego into a dreamy home—with a
lot of creativity, sweat equity, and help from their community.

Photo by Jeovanna Pérez

Wanting more space, in 2021, the Skobys started looking—and looking. They had a strong community in La Jolla, Joe is a dedicated surfer, and they loved raising their three children on the beach. "I was only going to move from La Jolla for a dream house," says Cristiana, who worked for Dolce & Gabbana in her native Italy and now manages Joe’s art business.

But La Jolla, once an artists’ colony, has seen its modest cottages replaced with mansions. Prices have become especially heartbreaking since the pandemic. After two years of browsing, Cristiana spotted a listing for $900,000 in Clairemont, the next neighborhood inland. It looked like the opposite of a dream house—a coffin-like entryway, low ceilings, a poky layout, and bright blue wall-to-wall carpeting in the bedroom that switched to gray in the bathroom. The backyard was bare dirt and invasive ice plants.

After Joe saw the wood carvings his friend Matthew Wignall was doing, he asked if
the artist would be interested in making a door. Joe and Cristiana gave him no direction, and it was the largest piece he had undertaken. The result is a showstopper of an entry that sets the tone for the house: original, earthy, handmade.

Photo by Collin Erie

The Skobys combined the original walled-off entryway, kitchen, living room, and dining area into one bright, open space. To vault the ceilings, they had to install a 26-foot-long central support beam. The clerestory windows they added give the house the feel of an iconic midcentury.

Photo by Jeovanna Pérez

See the full story on Dwell.com: Budget Breakdown: How Ceramicist Joe Skoby Traded Up for His Family’s Dream Home in San Diego

Stone Wraps This Frank Lloyd Wright–Inspired New York Home Seeking $6.5M

noreply@blogger.com (GRAPHĒ) — Thu, 4 Jun 2026 13:56:34 -0700

Spanning nearly six acres, the contemporary estate includes a main house, a pair of guest residences, and a saltwater pool.

Location: 496 Haines Road, Bedford Corners, New York 10549

Price: $6,500,000

Year Built: 2025

Footprint: 7,213 square feet (5 Beds, 4 Baths)

Lot Size: 5.93 Acres

From the Agent: "Drawing inspiration from the organic principles pioneered by visionaries such as Frank Lloyd Wright, Haines House continues that tradition by blending art and environment to create a harmonious balance with timeless intent. This property is all about comfort, privacy and security. The great room is wrapped in glass, framing uninterrupted views in every direction. A central fireplace anchors the open plan, warming the kitchen, dining area, and a sunken lounge. The main residence offers four bedrooms and four-and-a-half bathrooms. The primary suite occupies the uppermost level, complete with dual baths, a sitting room, an office, and direct access to a secluded terrace. Beyond the residences, the estate invites both recreation and reflection. Two guest pavilions connected by a luminous glass corridor echo the architectural rhythm of the main residence while maintaining their own sense of privacy. A saltwater pool shimmers in the sun, and a versatile sports court awaits play."

Spanning nearly six acres, the contemporary estate includes a main house, a pair of guest residences, and a saltwater pool.

Photo by Modern Angles

The property includes a sizable saltwater pool.

Photo by Modern Angles

A glass-enclosed hallway connects two guest accommodations.

Photo by Modern Angles

See the full story on Dwell.com: Stone Wraps This Frank Lloyd Wright–Inspired New York Home Seeking $6.5M
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From the Archive: Landscape Architect James Rose’s New Jersey Home Was Both Beautiful and Rebellious

noreply@blogger.com (GRAPHĒ) — Thu, 4 Jun 2026 12:56:13 -0700

Disturbed by the separation between the average American house and its lawn, Rose crafted an unconventional space that dissolved the boundary between interior and exterior.

Welcome to From the Archive, a look back at stories from Dwell’s past. This story previously appeared in the October 2006 issue.

Approaching the door of the James Rose house on a corner lot in Ridgewood, New Jersey, you are not greeted by the typical velvety emerald lawn or picture windows politely set back from the street. After locating the entrance of the cinder block, wood, thatch, and fiberglass structure embedded in foliage, you ascend a few steps to enter a room dappled with light, hear the splashing of a fountain, and wonder, Why can’t I live here?

Once dubbed the James Dean of landscape architecture, Rose (1913-1991) was a rebel with a cause, expelled from Harvard’s Graduate School of Design in 1937 for producing modernistic landscape designs rather than pastoral watercolor renderings in the formal Beaux Arts style. In 1938 and ’39, Rose and former classmates Garrett Eckbo and Dan Kiley put forth their design philosophies in a series of influential articles in Pencil Points magazine (now Progressive Architecture), and helped propel landscape architecture into the modern world.

Photos by Frederick Charles

"It’s hard to remember, but Rose was once the East Coast landscape architect of choice," says Dean Cardasis, director of the James Rose Center, and the person most responsible for rehabilitating Rose’s home and, to some degree, his reputation. "Before Kiley did the Miller Garden and became the darling of modern architects, Rose had a thriving international practice." He was also a prolific writer and guest lecturer. But Rose quickly tired of corporate life, preferring to leave Manhattan and work from home, where he could focus on the kinds of residential projects that allowed him to improvise with the real medium of landscape—rocks, dirt, and plants.

Rose was far more concerned about the experience of being inside the garden—he compared it to a sculpture that one moves through—than creating a pretty backdrop for the house. And he preferred working with existing materials, explaining, "I don’t bring in rocks to look at them or talk to them, but rocks that are on the site I try to use, instead of digging a hole to bury them as if they were something obscene." Although he created hundreds of gardens in New England and elsewhere, his undisputed masterwork is the project for which he was both architect and client, and which he completed in 1953.

Rose first started ruminating on his ideal dwelling when stationed in Okinawa during World War II. Upon his return, he was repelled by the proliferation of housing developments that thoughtlessly plunked a house in the middle of the lot—creating a useless front lawn and treating the garden as an afterthought. For him, the ideal house was inseparable from the site, rather than "imposed upon" it.

Working on a modest lot (described by Rose as "half a tennis court"), he placed three pavilions—a main house with a kitchen for his mother, a guesthouse for his sister, and a live/work studio for himself—joined by a tightly choreographed connective tissue of courtyards, pools, and gardens. Affording three adults both privacy and communion with nature, the property at Ridgewood embodies the midcentury ideal, so rarely realized, of blurring the borders between indoors and out. Wrote Rose: "The walls become garden walls instead of barriers. The landscape is of the house instead of attached to it, and the space is one."

"It’s hard to tell if it’s a landscape connected by shelter, or shelters connected by a common landscape," says Cardasis. "Rose essentially took the architecture and pulled it apart, with the solid parts and the voids exploded. I think of it as architectural origami."

Images courtesy Frederick Charles / James Lord / Dean Cardasis / James Rose Archive Center

For all its obvious delights, the "small village," as Rose called it, was no more enthusiastically received by the neighbors than his theories had been at Harvard. "The idea sat on the local New Jersey cerebellum like hair that comes with the hat," wrote Rose. "Everyone in Ridgewood knows what a house is. The building inspector drew one for me, gratuitously, the day I applied for a building permit, and showed me just how to place it on the lot." Rose, however, found creative ways to skirt annoying codes that impeded his privacy. In one area screened with posts, he responded to complaints by saying, "It’s not a fence, it’s a pole arrangement." "Actually," he wrote, "I took great pains not to violate any codes. I followed them to the letter, and made them work for me—much to the inspector’s dismay."

In the ’7os, Rose added a partially sheltered second-story roof deck/tree house that connects to the garden via a spiral staircase. When his mother became infirm, he joined her house to his sister’s, creating new alfresco areas, such as the Buddha garden. For the man who wrote "‘finish’ is another word for death," change was part of the master plan: "I set up the basic armature of walls, and roofs, and open spaces to establish their relationships, but left it free in detail to allow for improvisation. In that way it would never be ‘finished,’ but constantly evolving...a metamorphosis such as we find, commonly, in nature."

About Rose’s perfect fusion of Western and Eastern approaches, landscape architect Richard Haag wrote, "To oversimplify, Western residential forms are walls fending off nature, a man’s home is his castle. Traditional Japanese homes are structures of openings, a man’s home is his temple." Rose’s Ridgewood is both—a place of comfort and serenity, but no monastic retreat.

In terms of capturing the experience of living there, perhaps Rose said it best: "From my point of view it was a happy house. From the moment it was enclosed, something happened acoustically that made voices sound beautiful. It had an earthy quality that made people look and act like characters in a Chekhov play; artificial poses were impossible. But especially, it had its own moods—the moods of nature. Sunlight falls in the right places, and it is capable of dramatic change with the occasion, with the season, and with the time of day."

Photos courtesy James Rose Archive Center

See the full story on Dwell.com: From the Archive: Landscape Architect James Rose’s New Jersey Home Was Both Beautiful and Rebellious

You Enter This Historic 860-Square-Foot Milan Apartment Through a New Metal Portal

noreply@blogger.com (GRAPHĒ) — Thu, 4 Jun 2026 10:56:40 -0700

It’s part of a satin-finished "box" that encloses the kitchen and creates distinction between old and new.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: Milan, Italy

Architect: Depaolidefranceschibaldan Architects / @depaolidefranceschibaldan

Footprint: 861 square feet

Photographer: DSL Studio / @dsl__studio

From the Architect: "This apartment located on the third floor of a post-WWI bâtiment on Viale Beatrice d’Este in Milan has undergone a refurbishment by DDBA. The residence, featuring a typically bourgeois character, is distinguished by large French windows overlooking rows of poplars and the vibrantly colored facades of the residential buildings directly opposite, designed by Giordano Forti and Camillo Magni. The project was born from a collaboration with the clients, a creative couple seeking a Milanese pied-à-terre.

"The renovation, begun in 2021 and completed two years later, unfolds through two opposing yet complementary architectural codes that coexist and perfectly support one another within the home. The first code celebrates the building’s heritage, preserving the original partitions and enhancing the early 20th-century atmosphere in the bedrooms and living area. The second, by contrast, introduces a hyper-contemporary element: an independent functional ‘box’ with a satin-finish metal shell, inserted in place of the old entrance, which houses the kitchen and utilities. The two styles—utilizing different materials, colors, and lighting—generate a play of counterpoints and dissonances, creating a dynamic, multifaceted environment rich in contrasts. The apartment’s approximately 860 square feet are distributed across the living area, the home studio, the primary bedroom, the kitchen, and the bathroom.

"The entry is through a gallery with a dark, lowered vault, recalling the corridors of Villa Panza di Biumo and the architecture of Portaluppi. This gallery runs alongside the functional service and kitchen box, leading—with a sharp and surprising ‘change of scene’—to the high ceilings and luminous spaces of the living area. In the living room, a few selected pieces of contemporary design (primarily black USM modules in various configurations) cohabit with the vintage elegance of the rooms, emphasized by the herringbone oak flooring and the original fixtures, which have been restored and white-lacquered. The Klein-blue sofa harmonizes with the electric blue facade of the building opposite, while the stainless-steel bookshelves echo the metallic finishes of the kitchen box. The kitchen itself can choose to open its doors, connecting with the rustic dining table, or close itself off with discretion and privacy.

"The small studio, designed as a transformable multitasking space, becomes an additional guest room thanks to the fitted wall behind a dark curtain, which conceals cabinetry and a Murphy bed. The primary bedroom, essential in its furnishings, is enriched by a bright orange USM unit and a large canvas by artist Jaime Hayon."

Photo by DSL Studio

See the full story on Dwell.com: You Enter This Historic 860-Square-Foot Milan Apartment Through a New Metal Portal

Their "Upside-Down" Nova Scotian Home Lives Larger Than Its 1,050 Square Feet

noreply@blogger.com (GRAPHĒ) — Wed, 3 Jun 2026 10:56:35 -0700

MacKay-Lyons Sweetapple Architects designs a humble, "fish shack fabulous" house on stilts with a grand upper-level living area.

When Corey and Jennifer Everett set out to build a house in Nova Scotia—where they first met two decades ago—they wanted more than a typical vacation home. Living in Ontario but longing for the Maritime province, they searched online for years before finding a sloping lot in Upper Kingsburg.

Not only was the location "breathtaking," says Corey—close to protected conservation land and Lunenburg, a world UNESCO heritage site—but the land was owned by architect-developer MacKay-Lyons Sweetapple Architects. "We had the opportunity to work with Brian and his team as the architects," says Corey. "That made the property all that more interesting to me."

Architect Brian MacKay-Lyons and his firm had already built 50 dwellings in this peninsula village over 40 years in an ongoing experiment in community-making, and it’s the place where his own family has put down roots. "If I look out the window, I see my daughter’s house and her horse farm just down the road from these guys," he says.

For the Everetts, MacKay-Lyons set out to design what he calls an "upside-down house"—a 1,050-square-foot, two-bedroom home where you live upstairs and sleep on the lower floor. Since the tricky site slopes from road to creek, stilts offered an economical base. "It floats," says the architect. "You’re up in the air like a birdhouse."

A birdhouse that puts a contemporary spin on the classic Nova Scotia fisherman’s cottage—so much so, Corey says, that they jokingly coined the term "fish shack fabulous" to capture the project’s aesthetic.

See the full story on Dwell.com: Their "Upside-Down" Nova Scotian Home Lives Larger Than Its 1,050 Square Feet
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This $7.7M Classic Chicago Home Made of Limestone and Brick Hides a Striking Sunroom

noreply@blogger.com (GRAPHĒ) — Wed, 3 Jun 2026 08:56:29 -0700

The glass atrium is designed for year-round use, while the heated sidewalks and front steps are reserved for those infamous Chicago winters.

1838 N Burling Street in Chicago, Illinois, is currently listed at $7,750,000 by Ryan Preuett at Jameson Sotheby’s International Realty.

Vaulted ceilings and rich hardwood floors introduce the expansive main level, where a stone fireplace anchors the living room. A formal dining room is marked by crisp modern millwork and glass French doors that open out onto the deck. The culinary heart of the home is a chef’s kitchen, seamlessly integrated with a bespoke, built-in breakfast table. Transitioning into the everyday quarters, a sophisticated family room boasts a second hearth and detailed coffered ceilings. From here, sliding doors reveal a light-filled, four-season sunroom—a flawless transition to the property’s outdoor oasis. This outdoor footprint includes a swimming pool, outdoor kitchen, temperature controlled four-season glass atrium with accordion windows, sport court, and a gated parking pad for guests.

Upstairs, the second level serves as a private family retreat, hosting two secondary bedrooms, a dedicated laundry room, and a primary suite. This sanctuary is anchored by a third fireplace and flanked by dual custom walk-in closets, culminating in a spa-like en suite bath outfitted with a double vanity, a deep soaking tub, and a steam shower.

Find a dedicated entertainment destination on the top floor, where a sprawling game room features a full wet bar, a versatile guest suite or home office, and two private sky decks. Finally, the home’s lower level grounds the property with functionality, offering an expansive recreation room, a private guest bedroom with a full bath, a secondary laundry station, and access to the attached garage.

Additional callouts include heated sidewalks, front steps, and parking pad, amazing natural light throughout, arched transitions and doorways, designer light fixtures, an abundance of storage, composite decking, irrigation, and professional landscaping. There is also private neighborhood security with multiple cars working each night.

Listing Details

Bedrooms: 5

Baths: 4 full, 1 partial

Year Built: 2005

Square Feet: 6,031

Courtesy of Jameson Sotheby's International Realty

See the full story on Dwell.com: This $7.7M Classic Chicago Home Made of Limestone and Brick Hides a Striking Sunroom
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30 Years Later, They Reimagined Their Rome Apartment With a Glassy Central Kitchen

noreply@blogger.com (GRAPHĒ) — Tue, 2 Jun 2026 14:56:32 -0700

Transparent partitions create sight lines to the living area and dining room, emphasizing a sense of connection.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: Rome, Italy

Architect: STUDIOTAMAT / @studiotamat

Footprint: 1,200 square feet

Builder: Editel BF

Photographer: Eller Studio / @ellerstudio

From the Architect: "The apartment is located within a refined residential building, whose character is already evident in the rationalist language of its entrance hall. Purchased by the owner more than thirty years ago, the home had gradually fallen out of step with the person living in it. Fragmented rooms and rigid hierarchies no longer reflected a daily life shaped by movement, conviviality, and sharing, nor the increasingly central role that cooking had come to play. The intervention therefore began as a broader realignment: a contemporary rewriting of the interior, restoring a dialogue between the house and its inhabitant. Upon entering, the apartment reveals itself gradually through a continuous sequence of rooms connected by visual and physical thresholds. At the center of this system lies the kitchen, completely rethought as the core of the home.

"Enclosed by custom-made burgundy glazed partitions, the kitchen becomes a central volume that is both practical and relational, turning food preparation into a shared gesture connected to the rest of the home. Around this nucleus, the living area takes shape through the union of three former rooms. Each retains its own identity, yet all are held together by visual and material continuity. Underfoot, the original paneled parquet flooring has been carefully restored and runs uninterrupted throughout the space, while above, a fine burgundy line traces the walls, marking their height. The apartment’s original geometry is embraced rather than concealed: structural columns are integrated into custom oak joinery housing bookshelves and built-in seating, transforming a constraint into a functional device that organizes space and encourages interaction. The custom terrazzo flooring, designed with a geometric pattern, adds another layer of continuity between surfaces and furnishings.

"The dining room acts as a hinge between spaces. More intimate in character is the reading room, where the project shifts toward a tactile and secluded atmosphere. A custom book niche with integrated seating houses part of the owner’s extensive library. Here, tones deepen and the atmosphere becomes quieter and more protected.

"The result is a carefully balanced dialogue between permanence and transformation. Original elements such as the parquet flooring are reactivated through a new system of spatial and material interventions that redefine domestic life. What emerges is a home that adapts naturally, welcomes and connects, built around a renewed center and a more fluid, living continuity—one that holds past memories while making room for new ones."

Photo by Eller Studio

See the full story on Dwell.com: 30 Years Later, They Reimagined Their Rome Apartment With a Glassy Central Kitchen
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With Its Eerie Corporate Spaces, A24’s "Backrooms" Slashes Amnesiac ’90s Nostalgia

noreply@blogger.com (GRAPHĒ) — Tue, 2 Jun 2026 11:56:36 -0700

Fluorescent lighting and yellowing wallpaper imbue the film’s massive labyrinthian set with a sinister effect that the production designer wanted to feel "desperate."

Unlike the reverence for midcentury modernism that has been grounded in the belief that things were made better back then, today’s reminiscing of the 1990s by Gen Z youth is something else entirely. For those of us who lived through the era, watching the resurgence of low-rise jeans and babydoll tees has come with a shudder and a wince—after all, it’s not just a fashion but an atmosphere that we’re reliving. The ’90s in the U.S. were colored by a technology market boom that strengthened the middle class before its inevitable bust. It was a decade that dripped with the rise of corporate expansion and consumerism amidst Ronald Reagan’s pulsing afterglow. The growing commercial enthusiasm was built into our everyday details: Fluorescent-studded popcorn drop ceilings, seas of cubicles, overstuffed (or inflatable) furniture that tried to scream opulence while smothered in pastel florals; web-like shopping malls to trap every consumer imaginable. There was an aura of social collapse under a mountain of stuff we’d built and bought.

It’s the perfect setting, however, for Kane Parsons’s new A24 film, Backrooms. The horror flick is based on Parsons’s viral YouTube series that (borrowing an unauthored singular, awkward image of a strange empty room that made its way across the internet) uses "found footage" to tell a fractured story about an otherworldly dimension called "the backrooms." Through 22 episodes, viewers encounter a maze-like wasteland that resembles an abandoned white collar workplace. Yellow wallpaper lines an endless clustering of rooms connected by doors and hallways; furniture and other artifacts seem to melt into the interior landscape that is lorded over by a malevolent creature.

Renate Reinsve plays therapist Dr. Mary Kline, whose office is decorated with plain though period appropriate furnishings.

Photo courtesy A24

Parsons, who was 16 years old when he released his first episode, garnered such a following from his online debut that A24 gave him the opportunity to turn the idea into a long-form story, one that fleshes out the throwback conglomerate aesthetics: We get a good dose of oversize shoulder pads, sure, but we’re also injected with a reminiscent shudder from the 1990s economic precarity and materialism. Rather than relying on a plot that spells out the era’s spirit, the film instead focuses intently on its scenic design to evoke a generational horror. Led by production designer Danny Vermette, Backrooms is as much a scary flick as it is a period piece set in the ambiguous late-’80s-early-’90s, rehashing the era not as a nostalgic time of millennial optimism or Gen X counterculture, but as a harbinger to the agonies of our present.

The movie follows Clark (Chiwetel Ejiofor), an out-of-work architect, and Dr. Mary Kline (Renate Reinsve), the therapist who is guiding him through healing from his recent divorce. Through his recounting in therapy, we learn that Clark gave up architecture to support his now-ex wife’s education by managing a struggling furniture store, Cap’n Clark’s Ottoman Empire, in a dying strip mall. One night while attempting to fix some unruly circuit breakers he discovers that the store’s basement contains an invisible passageway into the backrooms. We watch him transform from a curious architect, mapping out the strange dimension’s floor plans, to an obsessive explorer, drawing his therapist into a gruesome chase in the inescapable, maze-like space. Throughout the movie, the set and props play another character entirely: the backrooms seem to have a life (and memory) of their own.

The Cap’n Clark’s Ottoman Empire furniture store is bleak in an entirely different way than the backrooms.

Photo courtesy A24

When Vermette first read the script, he says he knew that the ’90s would play a significant role—not just in the story’s setting, but in its ethos—and wanted to create two distinct sets for the furniture store and the backrooms that would complement each other aesthetically. As Clark attempts to pilot his languishing furniture store, Vermette sought a palette that, he explains, would feel "desperate." "We wanted to highlight that Clark isn’t doing so hot, but at the same time we wanted to make it beautiful; so how do we do that with the signage, with the color palette of the furniture, with the layout?" he says. The resulting interior features a variety of bulging La-Z-Boy recliners, maple bedroom and dining sets, and hand-painted signage reading "EVERYTHING MUST GO." The store feels sparse and foreboding, with awkward columns and too-bright fluorescent lighting. But beneath it, through its yolk-colored basement wall, the backrooms echo Cap’n Clark’s subtle despondency.

Bringing the otherworldly backrooms to life involved building a 30,000-square-foot labyrinthian film set. Initially Parsons provided Vermette with a drawing of the layout that he created using Blender, an open source 3D-modeling software. The file was so large that his computer crashed, Vermette says. They carefully chose which spaces could be physically built, understanding that many of the scenes required creating something fantastical—long hallways in the backrooms become trompe l’oeils that lead to nearly impassable doors, Escher-like stairways mess with the viewer’s spatial reasoning. Some scenes trigger vertigo, while others elicit claustrophobia.

30,000 square feet of studio space was used to build out the backrooms for the film, in conjunction with the 3D-modeling software blender.

Photo courtesy A24

See the full story on Dwell.com: With Its Eerie Corporate Spaces, A24’s "Backrooms" Slashes Amnesiac ’90s Nostalgia
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In the Eastern Sierra, an Off-Grid Property With a Mystic Past Seeks $1.7M

noreply@blogger.com (GRAPHĒ) — Mon, 1 Jun 2026 11:56:51 -0700

Designed by Linda Taalman, this glass-encased IT House sits on land once owned by the transcendental philosopher Dr. Franklin Merrell-Wolff.

Location: 3800 Granite View Drive, Lone Pine, California

Price: $1,650,000

Year Built: 2020

Architect: Linda Taalman

Footprint: 1,368 square feet (2 Bedrooms, 2 Bathrooms)

Lot Size: 2.39 Acres

From the Agent: "This two-bedroom, two-bath, 1,368-square-foot house on roughly 2.5 acres offers unobstructed and protected views of the picturesque western vistas that have made Lone Pine a premier Hollywood filmmaking destination for decades. Designed by Linda Taalman, AIA, the house is flanked by Tuttle and Diaz Creeks, and its structural footings sit in an ancient clearing between two glacially sculpted boulder deposits. Amidst the endless natural beauty enjoyed from the southeast-facing sunroom, the west-facing 700-square-foot Stepstone deck, and the enveloping nighttime dark skies, the residence is a model for off-grid living matched with state-of-the-art reliability. Employing Taalman’s iT house concept vocabulary, the house combines off-the-shelf Bosch aluminum framing, steel Epic decking, and glass walls; architectural materials selected to create site-specific homes with minimally invasive footprints. A propane generator and a woodburning stove serve as fail-safes for the hydronic heating and cooling. A 650-foot well, advanced filtration, a 1,200-gallon water reserve tank, and an insulated pump house ensure an adequate and fresh spring water supply. The interior is appointed with rift-cut white oak panels, granite and stainless-steel counters, Leight cabinets, and all-electric Bosch and Miele appliances. Included on the property is a 1,024-square-foot three-car garage with its own dedicated solar power and wood-pellet stove, making it suitable for fitness, wellness, and creative pursuits."

The site was once part of the ranch of transcendental mystic Dr. Franklin Merrell-Wolff, who studied spirituality and consciousness and founded the group Assembly of Man.

Photo by Sterling Reed

A 20-panel solar array helps power the home.

Photo by Sterling Reed

See the full story on Dwell.com: In the Eastern Sierra, an Off-Grid Property With a Mystic Past Seeks $1.7M
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Wait Until You See the Living Room in This $5.2M Bay Area Midcentury

noreply@blogger.com (GRAPHĒ) — Fri, 29 May 2026 09:56:46 -0700

The hilltop home is built around a hexagonal volume with a dramatic oculus and panoramic views from San Francisco to the Santa Cruz Mountains.

Location: 135 Hill Top Drive, Los Gatos, California

Price: $5,200,000

Year Built: 1967

Footprint: 4,165 square feet (4 Bedrooms, 7 Baths)

Lot Size: 1.05 Acres

From the Agent: "Offered for the first time following a total transformation, this profound California midcentury occupies a rare knoll-top pinnacle with 270-degree views. The structural soul is a hexagonal pavilion utilizing a ‘spoke-and-hub’ plan. A soaring, timber-clad pyramidal ceiling with a hexagonal oculus transforms the living room into a sundial, while free-form lighting counterbalances the post-and-beam drama. The single-story layout allows outdoor access from almost every room. The estate includes a detached yoga studio, solar-integrated roofline, and comprehensive landscape lighting."

The home’s floor plan radiates outward from the central living area.

Photo provided by Arthur Sharif

See the full story on Dwell.com: Wait Until You See the Living Room in This $5.2M Bay Area Midcentury
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Blink and You Might Miss This Super Skinny Japanese Home on Stilts

noreply@blogger.com (GRAPHĒ) — Thu, 28 May 2026 13:56:08 -0700

A raised volume forms an entry sequence that leads to more robust living spaces and a kids’ play area with shelving on tracks.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: Saitama, Japan

Architect: ICADA

Footprint: 1,216 square feet

Builder: Sakaki Juken

Structural Engineer: Graph Studio

Landscape Design: Murata Engei

Energetic Consultant: Studio Nora

Timber Procurement: Anai Wood Factory

Photographer: Nobutada Omote

From the Architect: "Live Sawn House confronts a paradox in contemporary Japanese forestry: thick, high-quality sugi (Japanese cedar) logs are valued less than thinner ones. This inversion stems from postwar reforestation policies and the decline of sawmills capable of processing large timber, leaving mature cultivated trees underutilized. Forestry workers lament that decades of growth are sold cheaply and cut into standardized pieces. Rejecting this logic, the project embraces an alternative: showcasing thick logs in their raw, expressive form using dara-biki (live sawing), a traditional method that reveals each tree’s unique character while maximizing yield and structural integrity.

"This two-story residence occupies an irregular urban site with a winding alley. Built on a modest budget, it integrates design with material sourcing. The building system is straightforward and legible: 105 millimeter planks are used for corner and wind-exposed columns, while 70 millimeter planks serve lighter loads; beams are consistently 105 millimeter thick. Boards retain natural edges and occasional bark, enriching visual texture while minimizing waste. Timber is oriented along the grain, ensuring high bending strength without industrial processing.

"In a dense residential district outside Saitama, the largest city in one of Tokyo’s neighboring prefectures, the building appears from the street only in fragments: a slender box raised on rhythmic timber posts. The ground floor contains the dining kitchen, while living and sleeping areas occupy the upper floor. A suspended walk-in closet—skywalk-in-closet—extends over the alley, culminating in a study nook. Below, timber pilotis allude to the wooden interior structure. The children’s space features movable shelves for adaptability. By embracing the overlooked potential of thick sugi logs, Live Sawn House proposes a sustainable, site-specific architecture grounded in material honesty, craftsmanship, and respect for local forestry traditions."

Photo by Nobutada Omote

See the full story on Dwell.com: Blink and You Might Miss This Super Skinny Japanese Home on Stilts
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In Paris, a ’70s Flat With Skyline Views Seeks €570K

noreply@blogger.com (GRAPHĒ) — Thu, 28 May 2026 10:56:41 -0700

Updated by ALORS Studio, the 19th-arrondissement apartment comes with fresh cabinetry, custom built-ins, parquet flooring, and a full-length balcony.

Location: 19th Arrondissement, Paris, France

Price: €570,000 (Approximately $662,881 USD)

Year Built: 1978

Architect: Michel Holley

Renovation Date: 2021

Renovation Architect: ALORS Studio

Footprint: 600 Square Feet (1 Bedroom, 1 Bath)

From the Agent: "Located on a high floor, this balcony apartment is situated in the Flandre district of Paris. Completely renovated by the architects of ALORS Studio, it offers open and bright spaces. The entrance leads to a spacious living area oriented toward the northwest, featuring a living room with a library, a dining area, and a fully equipped kitchen. The apartment also includes a bedroom with balcony access, a shower room, a dressing room, and built-in closets."

Photo by Matthieu Barani

See the full story on Dwell.com: In Paris, a ’70s Flat With Skyline Views Seeks €570K
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Is This a "Real" Frank Lloyd Wright House?

noreply@blogger.com (GRAPHĒ) — Thu, 28 May 2026 09:56:26 -0700

Depending on who you ask, a 5,000-square-foot home on New York’s Petra Island is either "designed" or "inspired" by the famed American architect. Who’s right? (And does it even matter?)

"Welcome to fantasy island!" crows George Smart, CEO of the preservation group USModernist. He’s standing on one of the outdoor terraces of a waterfront house built on an 11-acre private island on New York’s Lake Mahopac, greeting me and a group of architecture enthusiasts who have just arrived by boat to tour the place. It’s a striking structure, with a long cantilever that stretches over a rocky shore and gently lapping waves. As we ascend the two dozen red-painted stairs from the dock to the front patio, we meet Smart and Joe Massaro, the house’s owner, who are enveloped in a plume of smoke from the fireplaces Massaro just lit inside and on the balcony. "Good old Frank Lloyd Wright," Massaro says, wiping soot from his face and hands as he begins the tour. "Do you want to start with the smoke or the leaks?"

The house, located on Petra Island, is one of the most ambitious, unusual, and architecturally controversial buildings in the region. Wright sketched plans for it in 1949 after his client, Ahmed Chahroudi, asked for a masterpiece. Chahroudi wasn’t able to afford the design and deferred construction, but then commissioned a 1,200-square-foot guest cottage, which Wright completed in 1953. The drawing for the cantilevered main house then became part of the architect’s list of hundreds of unbuilt projects. Fast forward to the 2000s when Massaro, who purchased the island in the 1990s, discovered drawings for the 5,000-square-foot, three-bedroom house and decided to complete it.

The Massaro House in New York’s Hudson Valley is built into the natural rock of Petra Island.

Courtesy Petra Island Tours / Wright Over Water

If Smart’s greeting is a reference to the 1970s television show about an island where secret dreams come true, then Massaro is like Mr. Roarke, the main character who fulfilled the fantasies. For certain fans of Frank Lloyd Wright—those who have visited as many of the architect’s projects as they can, like Smart—being able to step inside just one more of his buildings, especially one in such a dramatic setting, is like hitting the jackpot. "This is an astonishing achievement, it really is," Smart would later tell our group. "It takes a lot of courage and perseverance to be able to put together a project like this."

However, not all historians share this perspective. The Frank Lloyd Wright Foundation, an organization tasked with preserving the architect’s legacy and the heir to all of his intellectual property, does not consider the house Massaro built as a true Wright work. (It does, however, recognize the guesthouse.) In fact, Massaro was embroiled in a copyright lawsuit with the Foundation over this point in the 2000s. As a result of the suit’s settlement, Massaro is required to describe it as "Wright-inspired." Not that he believes it. "It’s a Frank Lloyd Wright house," he tells me on the tour. "I can only say that it’s ‘inspired by Frank Lloyd Wright.’ And I tell everybody, ‘Frank Lloyd Wright inspired me to build this masterpiece,’ and that’s what I did." The authorship questions over the Massaro house illuminate broader challenges over posthumously completed buildings by famous architects. Who gets to decide attribution? And should these projects even be completed?

Joe Massaro (pictured right) hosted a media tour of the Petra Island main house and guest cottage in early May.

Courtesy Diana Budds

Massaro, a 79-year-old retired sheet metal entrepreneur, is exceedingly proud of his home. "You walk in this door, you know it’s Frank Lloyd Wright," he says. To enter, I step down into a narrow porch and pass through a glass front door and arrive in an expansive receiving room illuminated by triangular skylights. ("There’s twenty six skylights here; twenty six chances to leak," Massaro quips.) From there, I walk straight ahead to reach the dramatic cantilevered living room, where Massaro has set up a video explaining the house’s backstory with holograms of himself and Wright as narrators. The house is split-level; to the left of the entry and up a few steps is the kitchen, dining area, bathroom (which features a giant rock in the shower), and bedrooms. The floors are painted a deep terra-cotta red and the ceilings are warm, varnished wood.

The house feels somewhat Wrightian, thanks to the materials, the relationship to the site, the hearths, and the classic compression and expansion. However, certain elements seem off—LED string lights visible in the crevices of the skylights, which are domed in shape, and, especially, the fieldstone affixed to the walls. Because of building codes and structural requirements, Massaro couldn’t use stone masonry; instead he chose reinforced concrete and then attached rocks to the surface.

Massaro and his architect, Thomas Heinz, an author of over a dozen books on Wright, had to fill in many blanks in order to build the house. "I had a detailed architecture plan but no specifications on the interior," Massaro says of the drawings they worked from, which detailed the floor plan, sections, and elevations. "I could tell from working on a lot of Frank Lloyd Wright houses over the years what it was going to be like inside," says Heinz, who had previously constructed homes from plans Wright drew during a time when the Foundation was more open with its archive.

They also looked to other Wright houses to inform their decisions. "We flew all over the country looking at houses and getting details because the interior details were never completed," Massaro says. A painting behind a built-in banquette in the living room was inspired by one he saw in Blauvelt, New York. He got window details from a visit to the Reisley House in Usonia and riffed on fixtures he saw in another Wright house—he says he can’t remember which—for a series of multicolored lights on an interior half wall. "I couldn’t buy them, so I built them," Massaro says. He and his wife, Linda, designed hexagonal rugs to match the dimensions of the triangular grid on the floor and had them custom-made in India.

A photo from the construction of the house in the 2000s.

Courtesy Petra Island Tours / Wright Over Water

See the full story on Dwell.com: Is This a "Real" Frank Lloyd Wright House?
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It Was a Pub, Then a Grocery Store. Now It’s a Home With a Three-Level Glass Block Addition

noreply@blogger.com (GRAPHĒ) — Wed, 27 May 2026 12:56:27 -0700

A translucent garage topped with a patio completes the transformation of the late-1800s building.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: Sydney, Australia

Architect: Ian Moore Architects / @ianmoorearchitects

Footprint: 2,787 square feet

Builder: Bright Build

Structural Engineer: Cantilever Engineers

Landscape Design: Outdoor Establishments

Photographer: Clinton Weaver / @_clintonweaver

From the Architect: "Originally constructed in 1869 as a Public House, known as The Moore Park Hotel, it was converted in 1921to a fruit and vegetable shop with upper level accommodation and in the 1960s to a corner grocery store, which it remained until 2022. The brief was to convert the three-story building to a single three-bedroom house. Located in a Heritage Conservation Area, the local Council wanted all new work to be clearly diﬀerentiated from the original structure.

"A new three-story, steel framed rear wing has been constructed, clad in translucent glass blocks. This new rear wing abuts the original facade but is set back slightly to clearly articulate new from old. In order to allow natural light and ventilation to the lower level living areas, an internal courtyard has been cut through the original section of the building with a new steel and timber stair rising alongside the courtyard to the upper level bedroom and a large roof terrace set behind the original parapet. New oak flooring is used throughout the upper levels, with terrazzo tiles for the lower level living areas, terraces, and bathrooms. Oak veneer is used for the kitchen joinery and the bathrooms are lined in colorback glass.

"The house in not air conditioned and relies on natural cross ventilation and ceiling fans, sun shading to all windows and doors, heavily insulated roof and walls, solar panels, electric heat pump hot water, LED lighting, all electric appliances, and electric heat pump hydronic underfloor heating and radiators."

Photo: Clinton Weaver

See the full story on Dwell.com: It Was a Pub, Then a Grocery Store. Now It’s a Home With a Three-Level Glass Block Addition
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