Dwell 2016-02

The New 

American 

Home 

Modern 

Architecture 

Across 

the USA 

A Reinterpreted 

Ranch House in Texas 

dwell.com 

February 2016 

Modern Masterpiece Renewed: 

Eero Saarinen’s Bell Labs 

Sarasota Midcentury 

Modern, Live/ Work in Georgia, 

Indoor/ Outdoor Living 

in Rhode Island, and more...

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Contents 

Features 


40 New Territory 

A local architect updates a traditional 

house in South Texas, resulting in a 

new direction for the neighborhood. 

text by 

Anna Marie Smith 

photos by 

Jack Thompson 

48 Urban Pastoral 

In gritty South Brooklyn, an architect 

creates a home for his wife and 

son, complete with a green roof where 

fruits and vegetables flourish. 

text by 

Aileen Kwun 

photos by 

Matthew Williams 

56 Outside Providence 

A modest vacation retreat in coastal 

Rhode Island, designed by a 

New York–based architect, features 

a distinctly modernist bent. 

text by 

Kelsey Keith 

photos by 

Brian W. Ferry 

56 

“This house was designed to heighten a productive 

sense of isolation, to capture the sun and reveal 

the sky, to create unique views to the landscape 

beyond.” —Max Worrell, project lead 

On the Cover: Resident 

Alejandra Sanchez and her 

daughter, Sara, enjoy the new 

front patio in their redesigned 

house in South Texas, p. 40. 

Photo by Jack Thompson 

This page: The deck in a Rhode 

Island home is ideal for family 

barbecues, even at night, when 

retractable screens keep the 

insects at bay, p. 56. 

Photo by Brian W. Ferry 

DWELL FEBRUARY 2016 

7

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hand in a fresh, minimal flourish. A new classic, Trevor truly lives in the best of times.

Contents 

Departments 


11 Editor’s Note 

16 Feedback 

25 Modern World 

In a special section, Made in 

America, we showcase the latest 

products available from artisans 

across the USA. Then we go behind 

the scenes to profile two thoughtprovoking 

young designers as well 

two “nice modernists,” innovative 

thinkers with smart ideas for urban 

living. The section concludes with 

a look at the reimagining of New 

Jersey’s Bell Labs, a modernist masterpiece 

by Eero Saarinen. 

25 

66 Renovation 

In Chicago, dSPACE Studio reinvents 

a historic home, untangling the disjointed 

interior and expanding an 

atrium to flood the space with light. 

text by 

Patrick Sisson 

photos by 

Christopher Sturman 

25 

76 My House 

A design-savvy couple talk about the 

challenges of building a midcenturyinspired 

house in Sarasota, Florida, 

while still complying with today’s 

strict building codes. 

As told to 

Heather Corcoran 

photos by 

Joshua McHugh 

86 

86 Big Idea 

An architect in Decatur, Georgia, 

creates a multipurpose building to 

house his design practice and 

himself, as well as an art gallery 

for the local community. 

text by 

Feifei Sun 

photos by 

Mark Hartman 

PORTRAIT BY RICKY RHODES 

76 

102 Sourcing 

Saw it? Want it? Need it? Buy it. 

104 Finishing Touch 

A woodworking studio for kids 

provides a head start for minimakers 

in San Francisco. 

text by 

Deborah Bishop 

photo by 

Aaron Wojack 

Get a full year of Dwell at 

dwell.com/subscribe. Didn’t catch 

last month’s issue? See select 

stories at dwell.com/magazine 


9

BEAUTY 

COOPER HEWITT 

DESIGN TRIENNIAL 

FEBRUARY 12 – 

AUGUST 21, 2016 

OPEN 7 DAYS A WEEK 

5TH AVE AT 91ST STREET, NYC 

COOPERHEWITT.ORG 

Beauty—Cooper Hewitt Design Triennial is made 

possible by generous support from Edward and 

Helen Hintz, and Madeleine Rudin Johnson. 

Additional funding is provided by Margery and 

Edgar Masinter, May and Samuel Rudin Family 

Foundation Inc., and Rockwell Group. 

Tuomas Markunpoika, Cabinet, from Engineering Temporality series, 

2012, welded and burned steel rings; Image © Tuomas Markunpoika

editor’s letter 

“We owe it to ourselves as a culture to define an 

architecture that is distinctly progressive, optimistic, 

and timeless—one that helps us connect in a 

deeper way to ourselves and to our community.” 

—LARA DEAM, Dwell Founder 

Without hope, good design is meaningless. 

Adapting sustainable practices is one way to signal 

our responsibility to the next generation; recognizing 

the importance of community building is another. In 

this issue, we consider both approaches in the context 

of today’s American landscape. 

It’s easy to conjure a bright future when we find 

creative individuals doing impactful work. In Atlanta, 

a design student’s thesis for reclaiming abandoned 

railways will one day increase green space in the city 

by 40 percent and connect disparate communities 

separated by existing infrastructure (page 38); 

meanwhile, in Indianapolis, a nonprofit is rescuing 

discarded building materials to make everything from 

tote bags to bus terminals (page 34). In Cincinnati, a 

young designer is developing a playful practice and 

a serious ideology spurred by interaction within the 

local community (page 26). Lastly we highlight a 

Minnesota artist and community activist using largescale 

works to engage passersby in a public conversation 

about civic responsibility (page 28). 

We visit Eero Saarinen’s Bell Labs in New Jersey, a 

project that was (and still is) rooted in the idea of community. 

When it was constructed in the early 1950s, the 

building’s finishes and materials were sleek and spaceage, 

its monumental spaces dignified and imposing. 

But it was the communal spaces—the lecture halls, 

cafeteria, hallways, and event galleries—that fostered 

the society of scientists and engineers making new 

discoveries and innovations. Collaboration was built 

into Saarinen’s programmatic design, and a new team 

led by architect Alexander Gorlin and Somerset 

Development is rediscovering that pleasure derived 

from shared space (page 36). It’s a selling point we all 

recognize: beautiful architecture that’s also social can 

bring people together to do great things. Demolition 

was at one time a real possibility for Bell Labs—newly 

reborn as Bell Works. It’s a sobering reminder of 

society’s resistance to reimagining old buildings, 

though renovation remains one of the best ways to 

reduce our impact on the environment. 

The rescue of a neglected structure is always a 

gratifying story. Case in point is a late 1970s house 

in a historic neighborhood of Chicago, where architect 

Kevin Toukoumidis of dSPACE Studio reordered the 

dwelling’s existing shell and capitalized on an expansive 

atrium with a respectful sensitivity to the character 

of the area’s more traditional homes (page 66). In 

the South Texas border town of McAllen, architect 

Luis López responded to the region’s social context 

through a project that’s peacefully contrarian. 

Renovating an existing home with impressive 

resourcefulness, he also removed and reused building 

materials, while keeping others intact, ultimately 

proving that bold, modern projects can be done 

affordably. We are proud that our cover story this 

month is a notable grassroots example of how 

contemporary Mexican architects are gaining visibility 

on a wider stage (page 40). 

We also salute architect Philippe Baumann for his 

home in the Gowanus area of Brooklyn, New York 

(page 48). This is yet another example of what an 

extremely resourceful, and accordingly knowledgeable, 

architect can accomplish in a complex city with 

byzantine building codes. It’s inspiring to note the 

loops Baumann was able to find in local zoning laws, 

as well as the resulting light-filled family residence, 

replete with verdant outdoor spaces, ensconced 

within a largely industrial environment. It’s not easy 

being green in New York, yet Baumann managed it, 

and in a very sophisticated way. The Merola residence 

in Rhode Island by architect Andrew Bernheimer 

is a notable example of going against the grain of the 

local vernacular style (page 56). In Florida, Steve 

Tetreault and John Pirman tell their story of conceiving 

a new house in the style of the Sarasota School (page 

76). Working with architect Michael Epstein, the 

couple adopted solutions that achieved the look 

they so admired, while integrating a more resilient 

and efficient program than the original modernists 

could have ever imagined. 

We end in Decatur, Georgia, where architect William 

Carpenter’s Lightroom 2.0 stands as an example of 

responsible development (page 86). The mixed-use 

structure nods to its neighborhood’s history, as well as 

its future, by offering a space that engages the community 

without overwhelming it. Recognizing that a 

three-story structure could appear discordant among 

tiny 1920s cottages, Carpenter sought to communicate 

his faith in his growing city’s future. “It shouldn’t be us 

imposing modernism into this place,” he notes. 

“Instead, we’re letting it grow from here.” 

Amanda Dameron, Editor-in-Chief 

amanda@dwell.com / @AmandaDameron 

DWELL FEBRUARY 2016 11

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on tour 

with 

dwell 

In 2016, Dwell Home Tours is going coast to coast and 

inviting you to experience a group of private homes 

curated by Dwell’s editors for an unprecedented look 

at amazing architecture. 

Each tour will kick off with “Meet the Architects” night, 

an evening in which award-winning architects and 

designers preview the projects featured on your tour. 

Contact hometours@dwell.com for additonal 

information on Dwell 2016 Home Tours. 

San Diego / Saturday, April 16, 2016 

Manhattan / Saturday, May 14, 2016 

Scottsdale / Saturday, May 21, 2016 

Los Angeles / Sunday, June 19, 2016 

/ Saturday, June 25, 2016 

/ Sunday, June 26, 2016 

Portland / Saturday, August 27, 2016 

Silicon Valley / Saturday, September 24, 2016 

Marin / Saturday, October 1, 2016

Feedback 

LETTERS 

Yesterday on all fours, I’m flicking rug 

fringe into place. It’s then that I discovered 

a dent on the back edge of my 

Eames lounge chair. I fume. Today I read 

the October 2015 Editor’s Letter, “The 

Fruit Bowl Manifesto,” and felt my 

hubris. “Perfection is intimidating. You 

have to be on your best behavior,” notes 

Karrie Jacobs. Yup, chinks happen. 

Evidence of how we really live. Besides, 

what good is great design if you can’t 

live with it? Thanks for the reminder. 

Doug Konen 

Santa Fe, New Mexico 

My comment is for the article on 

Erwan Bouroullec (September 2015). 

I’m afraid I have to completely disagree 

with him on his quote, “...the strongest 

political action that any citizen makes 

is by buying things.” The strongest 

political action that any citizen can 

make is by NOT buying things. 

James Martin 

Denver, Colorado 

In your October 2015 issue, you publish 

a correction from Jean C. Vanderlinde 

regarding the distinction between “the 

Cascade mountain range” and “the 

Sierras.” Since you’ve published a correction, 

I believe another is in order. 

Use of the term “the Sierras” is incorrect. 

Correct usage is “the Sierra.” 

David Schulenburg 

Broad Run, Virginia 

Editor’s Note: 

While “the Sierras” is frequently used 

in conversation and popular culture, 

the correct term is indeed “the Sierra.” 

We apologize for the error. 

I look forward to each issue of Dwell 

that arrives in my mailbox, and 

September 2015 was reason enough to 

keep the subscription going. The article 

on the Ferguson Sauder’s backyard 

house project (“A Family Affair”) was 

a great read. The owners pulled off 

some clever moves to create something 

that has multiple uses. Well done! 

Pearse McGrath 

Boston, Massachusetts 

I need to see more Jack Hawkins 

designs (“In Good Order,” October 2015). 

This house is inspiring. 

@lisaluong22 

Posted to Instagram 

When the September issue arrived and 

I saw the visually arresting, handsome 

cover, I felt comfortably at home. 

Jim Sondgeroth 

West Lafayette, Indiana 

16 FEBRUARY 2016 DWELL

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clarity, immunity, tranquility, cleansing or unwinding. 

Every cup is a gift to mind, body and spirit. 

®,©2015-2016 East West Tea Company, LLC 

®

SPOTLIGHT 

@esotericsurvey on Instagram 

A design collector and dealer based in San Diego, Steve Aldana 

of Esoteric Survey spotlights modernist objects and architecture 

from postwar California. His feed is a visual delight for midcentury 

devotees, with gems such as Richard Neutra’s Kaufmann 

Desert House in Palm Springs, original Eames wire chairs, and 

even a vintage BMW or two. 

TWEETS 

@PrimeFiveHomes: 

We love this 1925 Tudor house 

renovated into a light-filled 

modern sanctuary (“And Sons,” 

September 2015). 

@kishaniperera: 

When you fall in love with something 

#vintage, you find a way 

to make it work in your home. 

@doebstep: 

A green roof has to be one of the 

most aesthetically pleasing things 

you could ever do to a building. 

@Mocha333: 

I wish @dwell would stop tweeting 

such NICE pictures, I can’t favorite 

everything... 

@collectivecrush: 

So many great materials all 

wrapped up in one pretty package 

(“Iron Giant,” July/August 2015). 

DWELL ASKS 

What’s your 

favorite city 

for design 

in America? 

Chicago. The design 

of the city tells its story. 

Perfect meld of height, 

history, depth of architecture, 

integration of 

natural environment, 

and public transportation 

wending its way 

throughout. 

@melissalefko / Posted to Instagram 

Can’t think of a city that 

celebrates design any 

more than Palm Springs 

with midcentury. 

In a real, not faux, way. 

@StephStradley / Posted to Twitter 

Downtown Los Angeles for its 

collaborative workspaces, 

artists’ studios, and maker 

culture. New residential towers, 

major contemporary galleries, 

and restaurateurs have taken 

notice. It’s inspired new avenues 

in architecture and experientially 

focused design. 

@openforhumans / Posted to Instagram 

I really love the architecture in Marfa, Texas. Architects 

are coming in and redesigning older homes and turning 

them into modern dreams. Camille Moore Woodside / Posted to Facebook 


Contributors 


For this issue, San Francisco–based writer Deborah Bishop visited The Butterfly Joint, a 

woodworking studio designed for children (“Future Makers of America,” p. 104). Bishop pens 

stories for a number of outlets, including American Craft. “I seem to write about a lot of 

people who define themselves as ‘makers,’” Bishop says. “Speaking as someone who possesses 

few hands-on skills, I’m both envious and encouraged. And it’s heartening that more than 

half the kids taking workshops at the studio are girls.” 

What is your favorite American-made object that you own? 

“An Arion Press limited edition of The Voices of Marrakesh, by Elias Canetti. With its hand-set 

type and etchings by William Wiley, it’s about as far as you can get from a Kindle.” 

Brian W. Ferry 

Based in New York, photographer Brian W. Ferry regularly shoots portraits, travel, interiors, and 

design stories for international clients and publications including Condé Nast Traveler and 

WSJ Magazine. For this issue, he captured “Outside Providence,” a story about a coastal Rhode 

Island getaway (p. 56). “I was blown away by the skylights throughout the home,” he says. 

“Watching the light and colors change slowly over the course of the two-day shoot was a real 

treat—it was like a private James Turrell exhibition.” 

What’s your favorite city to visit in the USA? 

“I frequently travel to Los Angeles for work and pleasure, and I enjoy every visit. There’s a wonderful 

art scene, great food, and the ability to spend time outdoors year-round.” 

Mark Hartman 

When visiting a creative live/work space in Decatur, Georgia (p. 86), photographer 

Mark Hartman’s favorite moment was “seeing how architect William Carpenter approaches 

his work as art with consciousness, humility, and creativity.” The New York City 

photographer, who is currently working on his first book, has contributed to British Journal 

of Photography, Esquire, The Fader, Monocle, T Magazine, Vogue, and many others. 


“My passport.” 


The news editor of the website Curbed, Patrick Sisson has written about design and music 

for several publications, including Pitchfork and Chicago Magazine. Formerly based in the 

Windy City, he toured the Atrium House, located in the Buena Park neighborhood, for this issue 

(p. 66). “The area surprised me,” he says. “Just blocks from Wrigley Field, this historic neighborhood 

had flown under my radar for all the years I’d been living in Chicago. It was gratifying to 

find something new.” 


“A set of wooden bars and stars my dad made that replicate the design of the Chicago flag.” 

Feifei Sun 

When reporting on the Lightroom 2.0 house in Decatur, Georgia (p. 86), writer Feifei Sun was 

struck by “the many pieces of framed art and artifacts on William Carpenter’s walls,” she says. 

“They spoke to his appreciation for history and place, which is something you see clearly in his 

work.” The Atlanta-based writer previously covered style and design as an editor at TIME. Her 

writing has also appeared in Slate, Real Simple, and Marie Claire. 

What’s your favorite city to visit in the USA? 

“New York City. It’s the first city I saw after moving here from China, and I love that it still feels 

new to me with each visit.” 


Made in America 

Handcrafted in Atlanta, Georgia, this shuffleboard table from Chandra elevates 

the classic pub game into a sculptural furnishing. Four craftsmen hand make each 

shuffleboard table, taking five to six weeks to complete. A custom hand-stained finish 

and hand-upholstered leather gutter round out the design. Find this shuffleboard 

table and all of our American-made designs at the Dwell Store. 

store.dwell.com

(re)imagine 

modern

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Dwell on Design LA, the largest design event in North America, 

encompasses three days of dynamic exhibitions, unmatched 

educational opportunities, and innovative home technologies. 

Re-imagine modern with the people, products, and ideas that 

influence the contemporary design and architecture of today. 

June 24-26, 2016 

Los Angeles Convention Center 

Discover more at 

la.dwellondesign.com 

The Dwell on Design trademark is used under license and with the permission of Dwell Life, Inc.

® 

classics sustainably made in the USA 

New 92” x 40” oval dining table in classic walnut finish 

chernerchair.com

26 Profile: Andrew Neyer 

28 Profile: Amanda Lovelee 

30 Made in the USA: Product 

34 Nice Modernist: Michael Bricker 

36 Archive: Bell Works 

38 Nice Modernist: Ryan Gravel 

Back 

in Black 

MADE IN AMERICA 

PHOTO BY JAMIE CHUNG 

Clarity and cogency have long defined 

the pillars of graphic design—a medium 

oriented, above all, towards communication. 

Years before information design 

became a buzz term for digital media, 

it was an approach pioneered by Czech 

graphic designer Ladislav Sutnar: forefather 

of the modern infographic, champion 

of functional beauty, and an expat who 

practiced in the United States from 1939 

through to his death, in 1976. Sutnar’s 

enduring relevance—even, or especially, as 

the platforms for communication continue 

to vacillate and evolve with increasingly 

complexity—is evidenced in a new facsimile 

reprint edition of Ladislav Sutnar: 

Visual Design in Action, written and 

designed by the man himself in 1961. 

A snapshot of his much-revered American 

period, the tome, long out-of-print, is 

now available from Lars Müller Publishers. 


25

modern world 

profile 

Andrew Neyer 

A Cincinnati designer’s return 

home inspires a larger-than-life 

spin on the everyday. 

text by 

Zachary Edelson 

portrait by 

Ricky Rhodes 

In his Ohio studio, Andrew 

Neyer takes a witty approach 

to design (left). Recent products 

include a comb-shaped 

candelabrum in lacquered 

poplar that measures 30 inches 

wide, a prototype for a pendant 

lamp inspired by a yo-yo, and 

the minimalist Mantis wall 

sconce for CB2 (above). 

“ Twisting familiar objects and combinations 

is how a lot of my work is derived.” 

—Andrew Neyer, designer 

It’s easy to enjoy Andrew Neyer’s 

screenprints and product designs—they’re 

often inflected with punny humor. His 

Combdelabra, for instance, is shaped like a 

giant wide-tooth comb with candles for 

teeth. It’s a playful approach to design that 

Neyer developed through interactive art 

exhibitions he helped organize in his 

native Cincinnati, Ohio. 

Neyer cofounded YES, a combination 

gallery, studio, and shop, with two other 

artists in 2010, after graduating from the 

Maryland Institute College of Art in 

Baltimore and returning to Ohio. “It was 

the think tank for all my current stuff,” 

Neyer says of the venture. For its 2011 exhibition 

Color Me _____, cocreated with artist 

Andy J. Miller, visitors were invited to use 

enormous markers to color in cartoonish 

objects blown up and printed on the gallery 

wall. The simple premise was a hit, 

and the exhibit traveled to multiple cities. 

“There’s a childish joy to a lot of the work I 

make,” Neyer says. “It’s like taking this pretentiousness 

away from the art to make it 

more approachable.” 

Neyer’s forthcoming home collection, 

Stuff by Andrew Neyer, will include objects 

in a similar vein, like a fork, scaled to six 

feet tall, that serves as a coatrack. Like his 

art, these designs come from identifying a 

problem and distilling its solution. “I’m 

not designing to make something super 

ornate or just beautiful,” Neyer says. 

andrewneyer.com 


MINNEAPOLIS | NYC | LA | SAN FRANCISCO | AUSTIN | SYDNEY | MONTERREY | BLUDOT.COM

modern world 

profile 

Amanda Lovelee 

An artist’s interactive 

public work fosters unity 

in the Twin Cities. 

text by 

William Harrison 

portrait by 

David Bowman 


While working her “dream job” 

as an artist-in-residence for Public Art 

Saint Paul in Minnesota, Amanda Lovelee 

has seized her chance to pursue civicminded 

projects that use the city as a canvas. 

Urban Flower Field, a statement on 

inner-city agriculture, entailed reworking 

the previously vacant Pedro Park into a 

sloping garden featuring 96 biodiverse 

flower beds and a vibrant mural. 

Despite the serious nature of her central 

theme—the need for spaces that encourage 

human contact—Lovelee is unafraid to 

imbue her art with a sense of fun: “If an 

artist can’t make the civic process joyful, 

playful, and remind people why they love 

the city they live in, then who can?” 

A scientist’s thirst for experimentation 

also colors Lovelee’s work, including a 

recent collaboration with Kyle Waites, 

Sarah West, and Christopher Field entitled 

Balancing Ground. The team set up a wooden 

structure in downtown Minneapolis containing 

rows of benches and an oversize 

teeter-totter that triggered audio clips with 

its up-and-down motion. Featuring the 

voices of Lovelee’s wide-ranging collaborators—from 

a horticulturist to a local professor—the 

audio promotes audience 

reflection and teamwork. Using this collective 

model, Lovelee and her team “can do 

projects that none of us could’ve done on 

our own,” she says. “I’m thinking about 

different ways to access people’s potential 

and have all of their voices at the table.” 

amandalovelee.com 

“ There are a lot of unique things happening in the Midwest; it’s a great 

place to experiment.” —Amanda Lovelee, artist 

Artist Amanda Lovelee 

engages the community 

through public projects like 

Urban Flower Field, with its 

focus on ecology (above), and 

Balancing Ground, a structure 

that encourages collaboration 

(left). With their inviting sense 

of play, the works sneak up on 

participants, she explains. 

PHOTO BY AMANDA LOVELEE (BALANCING GROUND) 


modern world 

products 

Born in the USA 

From small workshops to home studios, we herald 

a group of American makers. 

In today’s globalized market, it’s 

easier than ever to digitally shop the 

world. That’s why it’s important to take 

the time to look locally and celebrate 

the craftspeople working hard to ensure 

that a “Made in the USA” designation is 

still a sign of quality. 

From the Sun Belt to the Snowbelt, 

a few of our favorite designers are 

throwing clay, building furniture, and 

reviving textile traditions like weaving 

and quilting. Together, these creatives 

represent a new wave of homegrown 

design: one that celebrates our country’s 

history of handmade objects, 

honest materials, and hard work. 

1 

Minneapolis, 

Minnesota 

Quilt No. 1, $425 Quilting gets 

a modern spin in the studio of 

Alexandra Gray Bennett and 

Jocelin Johnson, where each 

future heirloom passes through 

the hands of as many as 10 

local artisans. louisegray.com 

2 

Pittsburgh, 

Pennsylvania 

Vases, $85 each Ceramicist 

Reiko Yamamoto creates porcelain 

tabletop objects with 

simple forms and poetic 

imperfections by intuitively 

responding to the clay as she 

works. reikoyamamoto.com 

1 

3 

St. Augustine, 

Florida 

2-Tier Coffee Table, from 

$950 Yield Design’s restrained 

material palette showcases 

each element of this flat-pack 

alder table with powder-coated 

steel hardware. yielddesign.co 

3 

30

modern world 

products 

2 



31

modern world 

products 

1 

Seattle, 

Washington 

Hex Brass Bottle Opener, $68 

Heavy metal meets minimalism 

in this Brancusi-like bottle 

opener from designers Jamie 

Iacoli and Brian McAllister. 

store.dwell.com 

2 

2 

Eureka, 

California 

Four Tens Rug, $2,000 

Nancy Kennedy uses a custom 

stand-up loom to weave what 

she calls “art underfoot”— 

geometric rugs like this reversible 

wool-and-linen design. 

nancykennedydesigns.net 


1 

6 

32

modern world 

products 

3 

3 

4 

5 

6 

Marfa, Texas 

Saddle Leather Cot, from 

$2,125 From their studio in 

a West Texas art colony, 

Garza Marfa creates furniture 

with a rustic bent, like this 

natural leather lounge with 

powder-coated steel legs. 

Call it cowboy modernism. 

garzamarfa.com 

Chicago, 

Illinois 

Lift Brushed Copper Fruit 

Bowls, from $260 These 

sculptural serving pieces by 

Felicia Ferrone are handcrafted 

in brass and finished with the 

metal of the moment: copper. 


Los Angeles, 

California 

Stripe and Scandi Lamps 

(bases shown here), from 

$1,200 Beth Katz’s handthrown 

stoneware and porcelain 

gives Scandinavian style a 

rough-hewn wabi-sabi energy. 

mtwashingtonpottery.com 

Durham, 

North Carolina 

Maxwell Chair, $2,700 

In his Bull City studio, 

Elijah Leed crafts handmade 

furniture from Appalachian 

wood. This lounge combines 

walnut and oiled leather. 

elijahleed.com 

PHOTOS BY JOSEPH WILHELM (2), NICOLE LAMOTTE (5) 

5 

4 

33

modern world 

nice modernist 

Michael Bricker 

People for Urban Progress 

A Midwestern nonprofit upcycles cast-off 

urban hardware back into the community. 


text by 

Luke Hopping 

illustration by 

Sam Kerr 

The detritus of industrialization 

is forming the building blocks of 

renewal in Indianapolis, thanks to 

People for Urban Progress (PUP), a 

nonprofit that repurposes everything 

from arena seats to parking meters for 

municipal improvements. “We’re using 

the existing fabric of the city to showcase 

smarter urban design,” explains 

chief innovator Michael Bricker. 

In 2008, Bricker helped organize PUP 

to address a looming problem: What to 

do with 200 tons of roofing fabric from 

the decommissioned RCA Dome after the 

Indianapolis Colts decamped for a new 

stadium? “We wanted the material back 

out in the community,” Bricker says, 

“because we view it as a public resource.” 

Agreeing to cart it themselves, 

Bricker’s team salvaged most of the 

Dome’s Teflon-coated fiberglass and 

acoustical fabric—13 acres in all—for 

local designers to stitch into totes, 

handbags, wallets, and more. 

The first 1,000 wearables generated 

almost $70,000 in sales, revenue that 

has allowed PUP to take on bigger projects, 

like bus stops and shade shelters, 

also made of discarded materials like 

Super Bowl banners and used seat belts. 

These initiatives restore civic resources 

and pride in equal measure, sending a 

message of self-affirmation, says 

Bricker: “We are a city, and our public 

spaces are important.” peopleup.org 

The Archivist tote ($124) by 

People for Urban Progress 

is handmade from textiles 

recycled from Indianapolis 

infrastructure, including 

the roofing fabric of the 

RCA Dome (right). Similar 

salvaged materials will 

soon be available for the 

public to purchase through 

PUP’s Fabrik Bank. 

PHOTOS COURTESY OF PUP 


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modern world 

archive 

text by 

Zachary Edelson 

project 

Bell Works 

original architect 

Eero Saarinen and Associates 

renovation architect 

Alexander Gorlin Architects 

gorlinarchitects.com 

location 

Holmdel, New Jersey 

A modernist masterpiece is revamped to fulfill 

a new role—bringing the city to the suburbs. 

Labor of Love 

It’s no small irony that the building 

that opened the information age can 

only be fully experienced in the flesh. 

Surrounded by verdant fields and trees 

in Holmdel, New Jersey, Bell Labs is a 

shimmering glass box 1,186 feet long, 

350 feet deep, and 74 feet tall. Contained 

within its mirrored shell are four separate 

office towers, all linked by walkways 

but separated by three football 

field–size atriums. By day, a massive 

skylight illuminates these sublime 

cathedral-like spaces. Designed by 

Eero Saarinen and built in three phases 

from 1957 through 1985, its laboratories 

hosted the cutting edge of scientific 

research. Its new owners Somerset 

Development—who have renamed it 

Bell Works—and Alexander Gorlin 

Architects are betting they can leverage 

its unique design to foster an unprecedented 

revitalization. 

Gorlin speaks about “releasing the 

original energy of the building” and 

Bell Works certainly brims with the 

optimism and zeal of the 1950s. In his 

client, Saarinen found a vast organization 

of scientists and engineers whose 

prodigious innovations—from cellular 

phones to telecommunication 

Bell Labs’ exterior (above left) 

was the first large-scale 

application of mirrored glass, 

a product developed specifically 

for the project. Now common, 

especially in sunny climates, 

the glass’s inner layer of aluminum 

film blocks 70 percent 

of the sun’s heat and admits 

25 percent of its light. Architect 

Alexander Gorlin and his team 

restored the sunken lobby 

(above and top right) to its original 

yellow hues. The 1957 building 

is in the process of admission 

to the National Register 

of Historic Places. The vast 

skylight (right) features a weathering 

steel structure, currently 

undergoing restoration. 

PHOTOS BY HERMAN YUNG, EZRA STOLLER/ESTO (TOP LEFT AND TOP RIGHT) 

36 

FEBRUARY 2016 

DWELL

satellites—created the machines and 

ideas to drive the information age. To 

accommodate this collaborative innovation 

hub, he designed deep floor 

plates—each 57,000 square feet—that 

ensured flexibility and adaptability. 

“Communality and coming-together” 

are in the project’s DNA, says Somerset’s 

President Ralph Zucker: the building is 

filled with shared spaces, from ashtrays 

built into walls for casual chats to 

two underground auditoriums. By 2006, 

however, the Lab’s owners Alcatel- 

Lucent were selling the building. “The 

local sentiment was: it’s archaic,” says 

Zucker, but we “set out to prove it was 

far from archaic—it was incredible.” 

Much like the building itself, Zucker’s 

plan is bold and simple: Use the building’s 

versatility, communal resources, 

and sheer potential for density—some 

two million square feet—to create an 

oasis of urbanity in suburbia. Bell Works’ 

capacity as an event space was proven 

when it recently hosted conventions 

on self-driving cars and drones. One 

tech company, a coworking space, and 

a restaurant have signed on; a diverse 

range of occupants—from boutique 

hotels to a coffee chain—intend to lease 

as well. While the clients are new, Zucker 

and Gorlin are approaching the architecture 

with a “preservationist attitude”: 

replacing fluorescent lights, glass panes, 

various surfaces, and other details with 

original designs or aesthetics in mind. 

As Saarinen originally intended, glass 

walls will line the offices’ perimeter, 

letting views and light to enter from 

the facade deeper into the interior. 

The biggest change is front and 

center: With the replacement of the 

atriums’ floor, Gorlin had an opportunity 

to break up its vast expanse of 

black tile. He installed a Josef Albers 

artwork—two identical versions, each 

enlarged to 60 by 90 feet—to “anchor 

and define the space.” Albers was a 

frequent collaborator with architects, 

and while there’s no proof of his 

involvement with Bell Labs, the concentric 

yellow squares of the building’s 

sunken lobby seem indebted to his 

Homage to the Square. Gorlin compares 

Bell Works to Alice and Wonderland: 

When architecture reaches this scale, 

conventional perspective asserts itself 

in strange ways. Once filled with people, 

this stage may become a little less 

surreal—but likely not by much. 


37

modern world 

nice modernist 

When completed, the Atlanta 

BeltLine’s network of multiuse 

trails will connect 45 neighborhoods. 

Its 1,300 acres of 

parks will increase the city’s 

green space by 40 percent. 

Architecture and planning firm 

Perkins + Will was the lead 

designer of the Eastside Trail, 

seen in this rendering. 

Ryan Gravel Atlanta BeltLine 

A student’s lofty vision lays the groundwork 

for a city’s urban revitalization. 

text by 

Allie Weiss 

illustration by 

Sam Kerr 

When Ryan Gravel was a student of 

architecture and urban planning at 

Georgia Tech in the late 1990s, he came 

up with an idea to transform Atlanta’s 

system of abandoned railroads into a 

greenway that would create muchneeded 

public space. “I never imagined 

we would build it one day,” he says. “I 

just wanted to graduate.” 

Today, the Atlanta BeltLine, born 

from Gravel’s idea, is poised to reclaim 

more than a thousand unused acres 

from a ring of railroads built around 

Atlanta after the Civil War, long neglected 

since cars became the preferred 

method of transport. “I wanted to reuse 

them as a transit loop to revitalize the 

adjacent communities and incentivize 

the growth of the land along the way,” 

Gravel says. His plan, which gained the 

support of the city through a grassroots 

campaign initiated in 2001, will convert 

the 22-mile belt into trails, transit, and 

parks. While construction may not be 

completed until 2031, a handful of 

refreshed parks and the two-mile 

Eastside Trail have become popular 

destinations since opening in 2011 and 

2012, respectively. 

Gravel hopes the BeltLine will unite 

disconnected communities. “In Atlanta 

we mostly drive in our cars, and we 

don’t look each other in the eye when 

we do that,” he says. “The physical barriers 

of the city are now being turned into 

a meeting ground.” beltline.org 

RENDERING BY PERKINS + WILL 


dwellings 

Project 

Hibiscus House 

Architect 

López Resendez Studio 

Location 

McAllen, Texas 

In a South Texas border town, a family 

introduces a boldly modern aesthetic to a 

traditional neighborhood. 

Text by Anna Marie Smith 

Photos by Jack Thompson 

New 

Territory 

When renovating a house 

in McAllen, Texas, for 

his brother-in-law’s family, 

architect Luis López 

designed an overhang 

with concrete beams 

that protects the front 

entrance from the area’s 

frequent rain. A large front 

window was inserted to 

provide views through the 

house to the backyard.


41

dwellings 

The office space doubles as 

a play area, so the parents can 

keep an eye on the kids while 

they work (above). The Saarinen 

Plastic Back side chair from 

Knoll was a gift from a friend. 

The bed in Sara’s room has 

been in the family since the 

early 1900s (above right). López 

insisted on a concrete pathway 

that winds through the trees, so 

visitors don’t have to enter 

through the driveway (above). 

In the dining room, the family 

gathers beneath a cluster of IKEA 

Ranarp pendants (opposite). 

Ten miles north of the Mexican border, in South 

Texas, the city of McAllen is a continually evolving 

metropolis. The largest city of Hidalgo County, it’s 

home to a growing mix of Mexican and American cultures 

and increasingly contemporary architecture— 

the result, in part, of an economic boom that has 

amplified in the past few decades. Located in the city’s 

central neighborhood formally known as Old McAllen, 

the home of creative director Hector Sanchez and his 

family—a starkly modern box flanked by the region’s 

traditional ranch-style homes—is one such project 

that has served as a pioneering force. 

Called the Hibiscus House, the residence was 

designed by Hector’s brother-in-law, Luis López. The 

local architect envisioned the structure as a midcentury-modern 

spin on the architecture of Rio Grande 

Valley, a vernacular characterized by simple 

Mediterranean- and Tuscan-style homes translated to 

a South Texan aesthetic. “This area is unlike the rest of 

the state,” Hector says of the fastest-growing region in 

42 


DWELL

“ We wanted a place with good bones, 

so we only needed to intervene slightly.” 

—Hector Sanchez, resident 

Texas and its proximity to Mexico. “It’s kind of an 

independent country where the architecture is changing 

because the Mexican migration is demanding 

more sophisticated design solutions.” Serial, massproduced 

constructions, he adds, have continued to 

dominate the area as recently as the early aughts. 

López has used the area’s unique architectural vantage 

point to open up the conversation about contemporary 

design in South Texas. Incorporating features 

that speak to his progressive outlook, he has quickly 

become a leading figure of McAllen’s growing design 

scene, though he’s lived in the city for less than a 

decade. Born in Mexico, he started his architecture 

practice, López Resendez Studio, in 2010, with two 

offices—one in McAllen and the other just 16 miles 

south, in the border city of Reynosa, Mexico. López, 

along with former partner Kazuya Katagiri, is credited 

with designing the first contemporary house in 

McAllen: the Casa RS, one of the firm’s earliest 

designs, built in 2007. 

When Hector and his wife, Alejandra, decided to 

plant new roots in the region, it seemed only natural 

to call upon López’s expertise. The couple and their 

kids—Sara, 10, and Mateo, 7—have moved cross-country 

numerous times and, prospecting the site of their 

next home, had grown accustomed to touring neighborhoods 

by car in order to experience the local scenery 

firsthand. Looking for an area in which they could 

introduce a fresh, new aesthetic, they decided upon an 

existing 1,700-square-foot residence on a quiet block 

lined with traditional homes owned by a community 

of older generation, long-term dwellers. With its simple, 

rectangular shape and layout, the house presented 

the perfect structure for the family’s renovation plans. 

López was also particularly drawn to the vegetation 

surrounding the property, which Hector and his family 

purchased in early 2014. A lemon tree, an orange 

tree, a grapevine, mesquite trees, and a grapefruit tree— 

a sweet nod to McAllen’s reputation as the home of the 

ruby red—fill the front yard with a lush expanse. 


43

dwellings 

“ We wanted to keep enjoying what was 

already there. When you sit down in our 

living room, you’re looking at the trees 

and the sky.” —Hector Sanchez 


The living room features 

a vintage credenza by Jens 

Risom, a Room & Board 

loveseat, and a CB2 coat 

rack. By raising a portion of 

the ceiling in the center 

of the room, “the idea was 

to create a big visual door 

to the inside,” López says. 


45

dwellings 

“ People used to say that we came 

to the wrong place to do architecture. 

Little by little, the language starts 

to change.” —Luis López, architect 

Hibiscus House Plan 

N 

A Master Bedroom 

B Master Bathroom 

C Bathroom 

D Kitchen 

E Dining Room 

F Laundry Room 

G Office-Playroom 

H Living Room 

I Deck 

J Entrance 

K Bedroom 

An IKEA PS Vågö chair sits on a 

small treated-pine deck off the 

master bedroom (above left). 

In the kitchen, the existing 

cabinets were updated with a 

coat of paint and topped with 

new Caesarstone countertops 

(above). The refrigerator, 

dishwasher, and mixer are from 

KitchenAid and the cooktop 

is GE. To save money, the main 

patio was updated with fresh 

decking, but the metal awning 

was kept intact (opposite). 

I 

I 

K 

A 

B 

I 

C 

K 

D 

J 

I 

E 

H 

G 

F 

To enhance this natural beauty, López enacted a 

series of interventions to open up the home and create 

a seamless connection with the outdoors. Working on 

a budget, he creatively repurposed many of the home’s 

original features to cut down on costs while also 

maintaining its basic box structure. He transformed 

the existing garage into an office, replacing the door 

with a window frame from the master bedroom, opening 

the space to outdoor vistas. He also extended and 

built an enclosed front patio, using salvaged brick that 

had been removed from the living room to enlarge a 

window. There were some elements he kept, including 

the original kitchen cabinets, which were left intact 

and refreshed with a new paint job. 

The entire exterior was also updated with a new 

color palette. After initially considering an all-white 

treatment, López and Sanchez decided to paint the 

house black, a simple move with a stunning result 

that even they had underestimated. The new hue 

made everything pop with life: The grass felt greener, 

the door looked whiter. Everything became bolder. 

The result—a welcoming, transparent structure 

with an expansive, front-facing window—provides an 

unabashedly refreshing contrast to the surrounding 

homes that have been guarded and fortified as a 


dwellings 

measure of security due to the nearby Mexican border. 

In a powerful subversion of the community’s 

in-grained architectural approach, the home, with 

its inviting visibility, telegraphs a warm welcome 

to the community, rather than shutting it out. 

Hector supported his brother-in-law’s design approach, 

and, having previously lived in denser, more 

urban parts of the country, considered it an ideal transition 

for his new home. “What we are doing here is 

difficult because people don’t understand—it’s unfamiliar,” 

says López. And yet, to their delight and surprise, 

the neighbors, with watchful eyes, have been 

largely complimentary of López’s design choices. 

“Everybody who drives by the front of the house goes 

very slowly to see what’s going on inside,” says López. 

“It’s exposing the neighborhood to the way they live— 

it’s become an opportunity for people to [interact].” 

In November 2014, the family moved into the completed 

space with their latest addition to the clan, a 

Labrador retriever. Inside the home, a series of vintage 

and antique furnishings slowly culled over time 

warmly reflects the many places they have lived, each 

item acting as a precious souvenir. They purchased 

the vintage lounge chairs in the living room from a 

resale shop in Chicago, and a grade-school map of 

the United States in Atlanta; among the family’s more 

prized finds is a Jens Risom credenza, found in an 

art and antique shop in Michigan. “They speak more 

about our career, where we’ve worked, and where 

we’ve lived,” says Hector. “I like to look at it as a 

collection of the Midwest—Chicago, Indianapolis, 

Detroit—and beyond, a nice reminder of where we’ve 

been.” In the master bedroom, a white rocking chair, 

which Hector won in a contest hosted by Design 

Within Reach by fashioning a chair design out of 

champagne corks, wire, and foil, is a memento of a 

small triumph—as well as the arrival of his daughter, 

Sara, born that same year, in 2005. 

While some locals argue that contemporary style is 

a passing trend in McAllen, the Hibiscus House abandons 

architectural precedent as a long-term response 

to the way Hector and his family live. López’s outlook 

on residential projects is intimate and demanding. 

Each project has different challenges, and he explores 

how people want to live and how contemporary life 

translates into architecture. “In the end, architecture 

is the optimistic view of who the family wants to be,” 

said López. “It’s a contagious thing to see how a family 

lives in a new space.” In the case of Hector and his 

family, the contemporary style has caught on. 


47

dwellings 

Project 

Baumann Residence 

Architect 

Baumann Architecture 

Location 

Brooklyn, New York 

Building on the site of a former 

one-car garage, an architect creates 

his family’s home in an evolving, 

industrial neighborhood of Brooklyn. 

Text by Aileen Kwun 

Photos by 

Matthew Williams 

Urban 

Pastoral 

The Baumann family 

residence in Gowanus, 

Brooklyn, is all geometry 

up front, with a rectilinear 

grid of steel and cypress 

comprising the structure’s 

double facade 

(opposite). Up top, a verdant 

green roof of native 

grasses, wildflowers and 

fruits creates an oasis. 


49

dwellings 

Vegetation from the garden 

on the lower roof provides 

a contrast to the backdrop of 

Gowanus’s rapidly changing 

landscape (right). Long, unobstructed 

corridors along 

the spine of the house provide 

ample cross-ventilation during 

warmer months—as well as 

sightlines that unite different 

areas of the home’s narrow, 

linear footprint (far right). 

“When you’re in the back of 

the building, you can literally 

see the front door of the 

person across the street,” says 

architect and resident Philippe 

Baumann. Thick industrial 

glass lines the footing of the 

stairwell with subtle transparency, 

allowing light to also 

traverse the space vertically. 

The home’s enclosed courtyard 

(opposite) sits at “the heart of 

the structure,” says Baumann, 

who resides with his wife, Lisa 

Sardinas, and eight-year-old 

son, Oskar. “This is clearly the 

dominant space; everything 

flexes towards it.” Baumann 

cast the square concrete floor 

tiles himself, enlisting the help 

of his son. A small, neat patch 

of grass—a playful nod to the 

archetypal domestic lawn—is 

edited down to a charming folly. 

On a lone residential block in a neighborhood 

triangulated by the Gowanus Canal, a concrete plant, 

and an elevated subway line, a starkly modernist 

home sits between two nondescript residential buildings. 

From the exterior, one would hardly guess that 

the double-facade structure—a sleek, cypress-clad box 

overlaid with a grid of perforated galvanized-steel 

shutters—conceals fragments of salvaged cinder-block 

walls. But it’s here, on the site of a former parking 

garage in the heart of South Brooklyn, that architect 

Philippe Baumann created a home for his family. 

Despite its proximity to the waterway, which was 

designated a Superfund site by the Environmental 

Protection Agency in 2010, the neighborhood of 

Gowanus has seen incredible renewal in recent years 

as demand for housing stock in Brooklyn continues to 

increase. It was that very liminal, gritty character, in 

fact, that first posed a draw for Baumann, who has 

lived in artistic pockets of industrial areas for the better 

part of his adult life. 

“One of the things that provoked my love for 

Gowanus is that it had the feel that Williamsburg once 

did,” he says, referring to the North Brooklyn neighborhood 

where he rented a railroad apartment for 15 

years, well before the area swelled in popularity (and 

accordingly, new high-rise construction). As 

Baumann—who runs his own firm in Manhattan and 

teaches architecture at Pratt Institute—and his wife, 

Lisa Sardinas, a writer, got married and had a son, 

Oskar, now age eight, the family of three had begun to 

more seriously consider a long-term dwelling. 

Following extensive research into the borough’s idiosyncratic 

zoning laws, they decided a garage structure 

in Gowanus would serve as the ideal site to build 

upon, and so purchased the lot in 2009. 

The choice was largely strategic: If he could keep the 

bones of the original structure intact, Baumann would 

retain the city’s recognition of the site as a garage— 

and, effectively, the grandfathered clauses enabling 

him to capitalize on the entire length of the narrow 

footprint. “That’s the only way we would have been 

able to use the full lot, and the only way we could have 

ever built the interior courtyard,” he reasons, referring 

to the central space that defines the core of the home. 

Connecting the living room and the den with wallto-ceiling 

sliding doors on opposite ends, the enclosure 

opens up to crisp white walls that frame an 

expansive view of the sky. Beneath, a tight grid of concrete 

tiles encapsulates a small, manicured patch of 

grass. “This is our homage to the American dream, our 

little lawn,” Baumann says. “This is what I consider 

the urban courtyard; it’s intentionally very spare.” 

Landscaping grows more freely atop the building’s 

green roof, where a mix of indigenous wild grasses, 

flowers, fruits, and vegetables sprawl organically. 

“This building is about the courtyard, first and foremost, 

and after that it’s about the ability to have a productive 

garden space in the city,” he adds. 

Out front, the building’s double facade carves out a 

series of additional outdoor spaces. Extending five 

feet beyond the secondary facade, the steel mesh exterior 

both acts as a protective barrier and creates a 

transparent layer in-between—what Baumann refers 

to as the “buffer zone.” Each level of the interstitial 

space is used in various ways. On the ground floor, the 

family stores objects otherwise found or used on a 

porch: bicycles, plants, a chair or two for lounging. On 

the second floor, a steel rope stretches across the 

width of the building, used as a laundry line for drying 

clothes. On warm days, the family will keep the operable 

shutters wide open, providing highly efficient 

cooling ventilation. Radiant heat keeps the home 

warm during winter months, extending out onto the 

sidewalk to prevent snow from accumulating > 



51

“ To be our own client, to have the 

architect here—every decision came home.” 

—Lisa Sardinas, resident 

dwellings 

Sheetrock surfaces comprise 

many of the interior walls, 

including one situated 

between the kitchen and 

dining area (opposite), which 

is furnished by benches and a 

table designed and built by 

Baumann, alongside HAL 

chairs by Jasper Morrison for 

Vitra. The sculpture on the 

wall is by artist Peter Dudek, 

a friend of the family, and the 

pendants are by Glashütte 

Limburg. Baumann made a 

point to integrate industrial 

materials throughout, 

exposing steel beams and 

setting the floor in concrete. 


53

dwellings 

curbside (much to the envy of the family’s neighbors). 

Inside, sightlines run throughout the building’s 

length, from the kitchen to the outdoor courtyard 

beyond. Planes of bold, complementary colors—backsplashes 

of cobalt blue in the kitchen, pumpkin 

orange in the dining area, and avocado green in 

Sardinas’s home office—reverberate and soften the 

industrial palette of concrete, cinder blocks, and steel. 

A collection of artworks—a mix of purchases, barters, 

and loans from the couple’s various artist friends— 

imbues the space with warmth and character. 

Custom furnishings and clever solutions abound. 

In the upstairs bathrooms, extra-high showerheads— 

Baumann looms tall, at six foot four inches—are 

installed beneath operable skylights, and showering 

platforms made of perforated, stainless-steel grating 

flip up to reveal a sunken bathtub. Maximizing area 

both laterally and vertically, they’re easily the most 

inventive spaces in the home, and make bath time an 

adventure for Oskar: “He takes more baths than any 

kid I know,” says Baumann. 

Building the home has been a slow labor of love. 

Baumann designed and contracted it himself, enlisting 

the help of friends where he could, which helped 

keep costs at bay. The core of construction took place 

over the course of two years, and the family moved 

into the space in 2011, “quite prematurely,” Baumann 

admits. At the time, the courtyard was “just a big sandpit,” 

and other key details and finishes, including the 

double facade, were completed in the two years following. 

The house remains an open-ended work-inprogress. 

Come next summer, the family plans to 

install a projector in the courtyard, transform the 

basement into a rec room with a ping-pong table, and 

add a rooftop trellis; the list goes on. “The house is a 

lifelong project,” says Sardinas, “and we’ll hopefully 

never run out of ideas about what more to do with it.” 

Meanwhile, fast-paced change continues to shape 

the neighborhood. Local hearsay anticipates that an 

adjacent brownfield space between their home and 

the elevated subway trestle is soon to be overrun by a 

major, multi-unit development, the result of recent 

rezoning laws. For the time being, though, the family 

is content to roll with the punches and enjoy the multifaceted 

slice of urban life outside their doorstep. “It’s 

soothing, and has that air of the infinite—they never 

stop,” Baumann says, of the subway trains passing in 

the distance. Adds Sardinas: “The home invites the 

outside into your life even when you don’t expect it.” 

Baumann Residence Plan 

A Mechanical 

B Laundry Room 

C Cellar/Rec Room 

A 

B 

C 

Basement 

D Kitchen 

E Dining/Living Area 

F Enclosed Courtyard 

I 

F 

D 

E 

G 

H 

G Den 

H Office 

I Bathroom 

First Floor 

I 

J 

N 

J Bedroom 

M Green Roof 

K Master Bedroom N Roof Deck 

L Lower-Roof Garden 

K 

L 

J 

Second Floor 

M 

M 

Roof 

N 

“ This house is about the layers of space 

and the next view, the next view, the next view.” 

—Philippe Baumann, architect and resident 


“We have all these different 

destinations,” says Sardinas, 

a writer who works from her 

home office. “I’ll be working, 

get stuck on a passage, and 

take a break to go read outside.” 

On the lower roof, red 

Vegetal chairs by Erwan and 

Ronan Bouroullec for Vitra 

provide moments for repose 

(above). Baumann designed 

the plywood bed frame and 

shelving unit in the master 

bedroom (right), adjacent to 

an exposed cinder-block wall, 

a new addition to the structure. 

The upstairs showers (opposite) 

are particularly ingenious: 

Operable skylights loom above, 

and perforated, galvanizedsteel 

platforms open up to 

spacious, sunken bathtubs. 


55

dwellings 

Project 

Quonochontaug House 

Architect 

Bernheimer Architecture 

Location 

Charlestown, Rhode Island 

A family escapes their urban environs 

to a summer home attuned to 

its coastal Rhode Island landscape. 

Text by Kelsey Keith 

Photos by Brian W. Ferry 

Outside 

Providence 


Native New Yorkers, the 

Merola family have long held 

a tradition of spending 

summers in Rhode Island. 

When they learned the costs 

of renovating their existing 

cottage would significantly 

outweigh the benefits, they 

instead opted to build new. 

The result—a distinctively 

modernist box structure 

clad in milled slats of 

charred, brushed, and oiled 

cypress—sits nestled 

within the marshy landscape 

of Quonochontaug Pond.

White walls and concrete 

floors define the ground level, 

where a Bend sectional 

and Metropolitan chair by 

B&B Italia, an Arper pouf, Bella 

coffee tables by HAY, and 

a Peace Industry rug furnish 

the main living area (below). 

The overall program is 

centered around the notion of 

light and shade as a “pervasive 

experience,” says architect 

Andrew Bernheimer. Doubleheight 

skylights alternate 

along an east–west axis to take 

advantage of natural light 

patterns throughout the day. 

Opposite, clockwise from 

top left: The aluminum-clad 

wood windows are by Unilux, 

and the sliding doors are 

by Arcadia; a custom entry 

door by Creekside Millwork is 

positioned diagonally from 

the home’s rectilinear form; 

white-and-blue, wood-grain– 

patterned UonUon tiles by 

14oraitaliana line the bathroom 

walls in a loft above the 

garage; the kitchen contains 

an island countertop made of 

Corian in Glacier White. 

It’s a still 87 degrees, in the thick of summer, on the 

southern edge of Rhode Island, and Christine Urban 

Merola walks briskly through her house, throwing 

open giant metal sliding windows on the second floor, 

creating a crucial cross breeze. 

The vacation home that Chris and her husband, 

Andrew Merola, commissioned from Brooklyn-based 

Bernheimer Architecture isn’t what you’d expect to 

see when tooling around the marshy coastal plains of 

South County. The rectilinear black box—oriented on 

an east–west axis, along the shore of Quonochontaug 

Pond—only reveals its rich and varied texture 

up close: Cypress boards charred using the Japanese 

shou-sugi-ban method subvert the pattern of gray 

shingle siding found throughout the region. Despite its 

discernible deviations from the local vernacular, however, 

the house’s effect is hardly jarring. “When you’re 

coming in from the water,” Chris says, “it’s just this 

little square! It’s not a loud house; it sits there quietly.” 

The Merola family had been escaping from New 

York to Rhode Island for a decade, spending summer 

vacations in a nondescript saltbox-style house, before 

they decided on a change of scenery. “It was nice to 

be up here, but our house was really dark, like a log 

cabin,” says Andrew. “If you were on the ground floor, 

you didn’t know you were looking at the pond—you 

had no sense of where you were. It could have been 

anywhere.” The couple initially considered a light 

remodel—“just putting in some new windows,” as 

Chris says—but learned that a renovation would 

be tough, considering the structure’s 1980s post-andbeam 

construction. Along with Andrew Bernheimer, 

principal at Bernheimer Architecture, and his team, 

the couple analyzed the ROI on adapting the cottage. 

The project “quickly seemed to be more trouble than 

it was worth, based on noncompliance [with contemporary 

flood code], issues of resiliency, and a timeto-cost-benefit 

of severe adaptation versus building 

anew,” says Bernheimer. “There was no simple 

Band-Aid solution to make the existing house work.” 

The architects began by elaborating on a few key 

needs outlined by the Merolas: a modest house requiring 

little maintenance; an open and flexible living 

space on the ground floor, oriented toward the pond 


dwellings 


59

“ The skylights infuse the space 

with temporal, colorful experiences 

of light and shadow.” 

—Andrew Bernheimer, architect 

In the home’s west-facing 

wing oriented toward the 

pond, Christopher, 10, 

sits in the dining area, 

furnished with a Luxor table 

by Cappellini, chairs by 

HAY, and a Counterweight 

pendant by Fort Standard. 

The fish sculpture is by 

Mark A. Perry, a local folk 

artist. Outside, the deck 

is equipped with a grill, 

a concrete dining table 

by Landscape Forms, chairs 

by Zanotta, and retractable 

insect screens from Phantom 

Screens—a necessity in 

the humid climate. The eastfacing 

pool terrace (opposite) 

is outfitted with a series of 

Eos lounge chairs (and plenty 

of inflatable swim toys). 


dwellings

dwellings 

“ This house is designed to offer 

simplicity, clarity, and balance.” 

—Max Worrell, project lead 

The home is defined by two 

types of windows: large punch 

openings for views onto the 

landscape and vertical windows 

everywhere else (below left). 

The structure blends into the 

site’s informal English-style 

garden, complemented 

with native coastal plantings 

by landscape designer Paula 

Hayes. Accessed by sliding 

doors, a second-floor garden 

is filled with a bed of low-maintenance, 

drought-tolerant 

sedum (below right). In the 

master bedroom, a custom 

ash frame takes advantage of 

the expansive view (opposite). 

Quonochontaug House Plan 

A Master Bedroom 

B Bathroom 

C Bedroom 

A 

Second Floor 

J 

I 

First Floor 

B 

H 

D Loft 

E Garage 

F Study 

C 

C 

F 

G 

G Entrance 

H Kitchen 

I Living/Dining Area 

J 

Loft 

N 

Deck 

B 

D 

E 

on one side and the swimming pool on the other; simple—almost 

monastic—bedroom spaces, to encourage 

family time downstairs; and hardy materials that would 

stand up to the region’s salty atmosphere. Mainly, according 

to Chris, “We needed a house to relax in. We didn’t 

want to feel pressured to socialize on the weekends.” 

The narrow site defined both the volume of the new 

structure and the openings into it—with one notable 

constraint: Adding windows to either the north or 

south side of the house would mean up-close-andpersonal 

views of their neighbors’ properties. “One 

dilemma in our office was how to create a bright, airy, 

open space that connected to nature and the landscape,” 

Bernheimer says. 

The resulting solution turned out to be the defining 

characteristic of the new home: a series of doubleheight 

skylights that taper at the apex and flood the 

ground-floor spaces with natural light. “In New York, 

we experience light, shade, and color mostly as an 

exterior experience,” Bernheimer explains. “The 

opportunity to allow sunlight (and moonlight) into 

the deep interior of a house, and not just from windows 

but from the sky, was something special.” 

Bernheimer and his team oriented the second-floor 


edrooms and one shared bathroom around the negative 

space created by the skylight voids, which extend 

upward to the roof from the first floor. “When you cut 

in the big voids, you experience these massive spaces,” 

says project lead Max Worrell of the telescoping, faceted 

openings. “You’re moving around them upstairs, 

but you don’t perceive them as lost space.” 

For the interior, Bernheimer specified a material 

palette of concrete for the ground floor; plaster, 

painted in Benjamin Moore Super White, for walls and 

ceilings; ash plywood for cabinetry and details 

throughout; whitewashed ash for the upstairs flooring; 

and pine for the guest house. The one overtly decorative 

move occurs in the second-floor shared 

bathroom, which sports a panoply of Mutina Tex tile 

in shades of white, gray, and mustard yellow, with 

variegated textures. The design team “played with tile 

pattern in Adobe Illustrator and generated an Escherlike 

drawing for our local tile guy, with the idea that he 

would interpret the design on his own,” Worrell 

explains. “But he followed it exactly and worked on it 

for two-and-a-half months!” 

Contrasting with the luminous interior is the blackened-wood 

exterior shell. The team first did a number 

of studies with natural and whitewashed cedar before 

hitting upon charred cypress. Aside from its distinctive 

color, the char acts to seal the wood and protect 

it from insects and sun damage. 

“We like that it’s not uniform,” says Worrell. “The 

machining is exact, and the installation, but the 

surface has imperfections.” From afar, the house reads 

like a monolith, solid and dark. “Up close, as the 

slats reveal themselves,” Worrell explains, “the house 

is lighter, corners are dematerialized, and the overall 

color of the wood is softer, as the grain and texture 

of the wood is exposed.” 

Since migrating to the new home for their summer 

stays, the Merolas haven’t looked back, spending every 

summer weekend and most of August at their home 

away from home. Chris favors passing time on the 

ground floor, whether doing a puzzle around the dining 

table with the kids—Olivia, 15, Nicholas, 14, and 

Christopher, 10—or taking a dip in the pool. “We just 

come up here and don’t have to do anything besides 

barbecue, hang out, use the pool,” Andrew says, with 

content. “When the sun goes down, we can watch the 

sunset over the pond, and it’s really nice to go upstairs 

with that big window.” 


63

February 

Designers 

to Know 

Explore a City’s Creative Community 

On page 26, we profile Andrew Neyer, a product and 

lighting designer based in Cincinnati with a knack for 

creating playful objects and graphics, like the mural that 

graces the facade of the local chapter of the nonprofit 

Boys Hope Girls Hope (right). Online, he recommends 

four other makers who are doing cutting-edge design 

work in his hometown. dwell.com/cincinnati-designers 

A Bright 

Vacation Home 

Maximizing Light and Shadow 

In a retreat in Rhode Island (p. 56), a series 

of double-height skylights oriented on an 

east-west axis let sunlight fill the interior. 

On dwell.com, we take an in-depth look 

at the house’s lighting scheme, conceived 

by architect Andrew Bernheimer. 

dwell.com/rhode-island-lighting 

A Modern Live/ 

Work Space 

Tour a Designer’s Innovative Dwelling 

Architect William Carpenter’s residence 

in Decatur, Georgia, performs triple-duty 

as his home, a design studio, and an art 

gallery (p. 86). Visit our site to view more 

images of the highly personalized space, 

and take a look at the gallery’s latest 

installations. dwell.com/decatur-live-work 

Follow the team around 

the modern world on Twitter, 

Facebook, and Instagram! 

dwell.com/follow 

Urban Garden 

Solutions 

How to Make Green Space Anywhere 

In this issue, we visit architect Philippe Baumann’s 

family home on an infill lot in Gowanus, Brooklyn, 

which includes a rooftop garden (p. 48). Online, we 

share his five tips for creating a green oasis in 

the heart of the city. dwell.com/urban-garden-tips 

PHOTOS BY BRIAN W. FERRY (RHODE ISLAND), MARK HARTMAN (GEORGIA), MATTHEW WILLIAMS (BROOKLYN) 

64 


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enovation 

By opening up the atrium of a historic residence 

in Chicago, an architect shows it may take more than 

a first (or second) draft to make a home. 

Let There 

Be Light 

text by 


photos by 

Christopher Sturman 

project 

Atrium House 

architect 

dSPACE Studio 

location 

Chicago, Illinois 

In Chicago’s Buena Park, 

dSPACE Studio transformed 

a disorganized 1978 home into 

a bright retreat that revolves 

around an expanded atrium. 

SoCo pendant lights by Tech 

Lighting draw the eye up to 

the double-height light well. 


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enovation 

Taking advantage of the improved 

atrium was a priority (right). “They 

wanted to eat in the sunlight, that’s 

what pushed the breakfast area 

into this space,” architect Kevin 

Toukoumidis says. Because the 

house is located in a historic area, 

the exterior updates were limited 

to new windows and ipe cladding 

around the front door (below). 

“ If you can make a room flow without 

hallways, you’ve done a good job.” 

—Kevin Toukoumidis, architect 

Defining interior spaces often 

becomes a matter of perspective. When 

Eric and Nicolette Nijensohn began 

searching for a family home in Chicago 

in 2011, they expected to end up in a 

multistory space on a narrow urban 

site—imagine a series of stacked levels 

like in the film The Royal Tenenbaums. 

But when they stumbled upon the perfect 

spot in the Buena Park neighborhood—a 

sleepy stretch of historic homes 

within walking distance of Wrigley 

Field—they found themselves dealing 

with different conditions altogether. 

Set upon three connected city lots, 

the two-story brick building they chose 

was spread out horizontally, but its 

disjointed interior was suffering from 

multiple personality disorder. From an 

atrium that recalled a Spanish hacienda 

to a 1970s-style kitchen and a living 

room decked out with antelope horns, 

the house needed light and latitude. 

A Chicago Tribune article about the structure, 

originally designed by Marcel 

Freides in 1978, quotes a confused neighbor 

inquiring about when the new public 

library had arrived on the block. 

To remodel the house, the Nijensohns 

recruited someone who, they’d learned, 

had already attempted to reimagine 

it. A year earlier, architect Kevin 

Toukoumidis and his team at dSPACE 

Studio had drawn up plans to turn the 

home into a bachelor pad and hired a 

contractor before the potential client 

decided to sell. The firm agreed to 

rework the house’s eccentric layout 

to fit a family with two children and 

a dog. The result was a radical change 

without dramatic intervention. 


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enovation 

A 

B 

C 

D 

E 

L 

M 

J 

J 

I 

K 

H 

F 

N 

N 

First Floor 

Second Floor 

E 

Atrium House Plan 

G 

N 

A Living Room 

B Entrance 

C Office 

D Half Bathroom 

E Bathroom 

F Studio/Bedroom 

G Garage 

H Family Room 

I Kitchen 

J Atrium 

K Dining Room 

L Master Bedroom 

M Master Bathroom 

N Bedroom 

“How do you take this space and make 

it great?” was Toukoumidis’s first question 

when tasked with the project. “It 

wasn’t about a mass gutting of the property, 

it was about how you chip away and 

bring new life to the space.” 

While Toukoumidis altered the entire 

floor plan, slicing away at walls like a 

surgeon with a scalpel, his bold gesture 

helped to remove any fortress associations 

from the building. The house was 

originally planned to be U-shaped 

around a central courtyard, which was 

closed off during construction, leaving a 

small atrium at the center. Toukoumidis 

decided to transform that add-on into 

the centerpiece, aiming to turn the 

resulting two-story well of light into a 

focal point. The skylight was doubled in 

size to a 10-by-20-foot pane that lets 

sunlight shine through the glass railing 

on the second floor. On the right evening, 

it frames the full moon. 

“In the end, I wanted light and simplicity, 

clear-cut lines to give the home 

some warmth,” says Nicolette. 

While the atrium illuminates, the 

redesigned area below provides an additional 

feeling of openness. Curved banquette 

seating angled around a sunken 

floor resembles a streamlined amphitheater, 

a reference reinforced by the 

unlikely choice of material: concrete. 

To satisfy the clients’ desire for curved 

seating to break up the home’s straight 

lines, while being careful not to overload 

the interior supports, dSPACE Studio 

To create privacy, the residents 

opted to keep the family room 

separate from the other living 

spaces (above). The sofa, chair, 

and rug are from Room & 

Board. In the updated kitchen, 

Ernestomeda cabinets are 

paired with quartz countertops, 

a Miele cooktop, and a faucet 

from Dornbracht (below). 


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enovation 

“It bothers me when you have too 

much of the same thing—it becomes boring.” 

—Nicolette Nijensohn, resident 

A wall of bamboo adjacent 

to the atrium floor provides 

a dramatic and seductive 

green entrance—“natural art,” 

Eric calls it (left). Sistemalux’s 

integrated LED Step lighting 

adds a dynamic touch 

to a passageway (below). 

DWELL FEBRUARY 2016

enovation 

“When people walk in, they’re amazed to 

see a glass atrium in the center of the room.” 

—Kevin Toukoumidis 

A newly expanded window over 

the atrium allows glimpses of 

the surrounding neighborhood 

(left). A freestanding Antonio 

Lupi tub defines the updated 

master bath (below). Previously 

a maze of partitions divided 

the sauna, bath, sink, and toilet 

areas (right), the master bath 

now features an open-plan 

layout and a skylight by Velux. 

experimented with applying spray-on 

concrete to fabricated pieces of 

medium-density fiberboard. The resulting 

seating, soft to the touch, offers 

both a sense of permanence and a center 

for family activity. 

Like the light that streams through the 

glass roof, a feeling of free movement 

filters through the home. Where the 

main floor was initially a series of 

uneven platforms and stairs, with hallways 

connecting back rooms, dSPACE 

leveled it out and created perspective, 

knocking down a wall and adding a 

breakfast nook. A limited material palette 

and oversize four-by-four-foot porcelain 

floor tiles connect rooms while 

magnifying their size. LED lighting set 

behind handrails, in shade pockets, and 

around the floor trim draws subtle attention 

to various architectural features. 

“There was already a ton of space, so 

the biggest challenge was how to reinvent 

it,” says Toukoumidis. “We could 

have said, ‘Let’s take this away and have 

four columns,’ but that would have been 

incredibly invasive.” 

While the transformed atrium in the 

Nijensohns’ home cuts a unique profile, 

with Brutalist benches that look like the 

steps of some university, the space functions 

more like a hearth—a warm gathering 

place for family activity. “You get the 

kids chasing the dog in a circle, a circle 

around the hearth,” says Eric. “That’s 

what I love.” 


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my house 

In a modernist seaside enclave, a couple calls 

in a pioneering architecture firm to build a new house 

rooted in midcentury style. 

Castle in the Sand 

project 

Tetreault-Pirman House 

architect 

Seibert Architects 

location 

Sarasota, Florida 

as told to 

Heather Corcoran 

photos by 

Joshua McHugh 

Florida couple John Pirman and 

Steve Tetreault built a new 

house inspired by the Sarasota 

School. Today’s FEMA codes 

required a plinth to lift the 

house five-and-a-half feet 

above grade and a roof that can 

withstand hurricane wind loads, 

making it a challenge to recreate 

the lightness of midcentury 

design, Pirman says. 


home. reinvented. 

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my house 

In the kitchen, Pirman and 

Tetreault gather around a custom 

Corian island with a Tara 

faucet by Dornbracht. Vintage 

Cees Braakman Combex series 

chairs and a marble Florence 

Knoll table bring natural materials 

to an architectural shell 

built from concrete, glass, and 

steel (left). The bath’s Kohler 

Purist fixtures and Frederick 

Weinberg animal figures sit on 

a Corian countertop (below). 

Benjamin Moore’s Tomato Red 

provides “punctuation” to the 

exterior (bottom). “That was the 

cheapest way to have that hot 

spark of color,” Pirman explains. 

There’s more to Sarasota, Florida, 

than warm waters and white-sand 

beaches. The city also lures design 

lovers with its wealth of low-slung glass 

pavilions created by Paul Rudolph and 

the architects of the Sarasota School 

in the construction boom that followed 

World War II. 

When hairstylist Steve Tetreault and 

illustrator John Pirman set out to build 

in Sarasota, they were well acquainted 

with Rudolph’s work. Tetreault owned a 

beach house by the architect, purchased 

some 30 years earlier on Siesta Key. 

Over time, the 950-square-foot 

retreat began to feel cramped as its role 

shifted to a full-time residence for two. 

So, in 2008, Tetreault and Pirman called 

upon Michael Epstein of Seibert 

Architects—a firm opened in 1955 by 

Edward Seibert, who got his start working 

for Rudolph—to build a contemporary 

house in the modern style. But a 

half-century’s worth of building-code 

updates presented a new challenge: 

balancing midcentury aesthetics with 

today’s safety guidelines. 

Steve Tetreault: Looking to the future, 

we decided it might be nice to build a 

modern home. The economy was in the 

tank, land was cheap, and builders were 

dying to do stuff. This neighborhood 

was established by John Ringling in 

the late 1920s, and empty lots are rarely 

available. But there was a house that 

burned down, so we were able to buy 

a long, skinny lot that nobody really 

wanted. Then we went to find one of 

the original Sarasota School architects 

left in town to design the house for us. 


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my house 

Visitors to the house are 

greeted by an art-filled living 

room anchored by a B&B Italia 

Charles sofa and a pair of 

vintage Hans Wegner CH22 

chairs. Track lighting from WAC 

Lighting Co. helps showcase 

individual pieces from the 

couple’s collection. “My favorite 

thing is walking in the 

front door,” Tetreault says. 

“If the house had a wood frame, we wouldn’t 

have been able to get such open windows.” 

—Michael Epstein, architect 

The style originated with them, 

so they’re totally in sync with 

our thinking. 

John Pirman: They used a lot of 

the concepts and proportions from the 

1950s to build this house. 

Tetreault: Our first meeting, we had a 

few specific things in mind. We have 

an art collection that we wanted to hang 

on walls. John needed to have a studio to 

work in, and it was important to me 

to have a place to just get away and be 

quiet. So the architect put John’s studio 

up front, and the master bedroom is at 

the opposite end of this long house. 

Pirman: It’s pretty bare bones in its 

basic materials: concrete, steel, and 

glass. No frills, no adornments. The 

glazing systems are all storefront 

windows. The whole roofing system is 

a commercial application that you 

might find in an elementary school. 

They’re not necessarily that much less 

expensive than standard materials, 

but the labor costs are much lower. 

Tetreault: The original modernists 

were using materials that came off 

the shelf. We thought if it was good 

for them then, it’s good for us now. 

The only trick about this is the application 

has to be done perfectly. Since 

there’s nothing decorative covering 

up seams or anything like that, it has 

to be done by a craftsman who knows 

what he’s doing. 

Pirman: The house has a lot of integrity, 

because it’s Michael Epstein’s 



81

my house 

Tetreault-Pirman House Plan 

A Garage 

B Bedroom 

C Pool 

D Master Suite 

E Kitchen 

F Dining Room 

G Living Room 

H Courtyard 

I Studio 

A 

B 

C 

N 

I 

H 

G 

F 

E 

D 

Pirman, an illustrator, works on a 

vintage Florence Knoll table in his 

studio at the front of the house 

(above right). In the master suite, 

a painting by Eric Freeman hangs 

over a West Elm bed (right). Sliding 

doors from PGT Industries open 

onto a courtyard planted with a 

giant aloe and two Madagascar 

palms. A Nordyne HVAC system 

embedded in the plinth helps the 

house keep a low profile. The 

siding is by James Hardie Building 

Products (below). 

vision and he followed through. Every 

last corner detail was drawn on the 

paper. It drove the builders crazy, 

because they always wanted to cover 

something or change something. We all 

know that change orders equal dollars. 

Tetreault: We pretty much stuck to the 

plan. And I’m really happy we did. 

Pirman: Michael shared our aesthetic; 

he understood it. We worked intimately 

with him, but they were all his ideas. He 

listened to us, and we listened to him. 

That’s what I think made this house 

successful. It was a team effort. 

Tetreault: The difference between 

building in 1948 and building today has 

to do with codes. What they were able to 

get away with, which we aesthetically 

like so much—sliding glass doors with 

very minimal frames around them, and 

low, flat roofs—you would never be able 

to get away with now. The challenge 

then is to design something that gives 

us a lot of those ideas but still complies 

with today’s codes. The benefit of today 

is that my little Paul Rudolph beach 

house cost more to air-condition than 

this new house does—it was 950 square 

feet, and this is 2,500 square feet. The 

differences are this is insulated, the 

glass is all low-E glass, and the HVAC 

systems are so much better than they 

were then—they’re more efficient, and 

they cost less to operate. 

Pirman: Building the house was a 

roller-coaster ride. Now living here, it’s 

completely changed my life. I think this 

is the best thing that I’ve ever done. 


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my house 

Make It Yours 

e Raise the Roof 

Using a commercial roof in a residential 

project was a first for architect Michael 

Epstein. While similar systems are often 

covered, Epstein chose this long-span roof 

deck from Epic Metals for its beam-like 

interior face, which hides fastenings in its 

deep grooves, creating a flat-panel 

appearance. epicmetals.com 

e Shady Business 

“What makes this house wonderful to 

live in is that the light is always, always 

changing,” says Pirman. Here, he adjusts 

shades fabricated by Unique Wholesale 

Distributors, which pull down in the 

morning when the sunlight is strongest. 

uniquewholesale.net 

c Show It Off 

While the couple’s art collection is a focal point of the house, 

the structure’s abundance of glass walls means there are fewer 

places on which to hang it. Custom one-and-a-quarter-inch 

hardwood-plank shelves and a credenza from DWR provide 

places to rotate favorite pieces. dwr.com 

c Float On 

Clerestory windows from YKK Commercial give the illusion 

that the roof hovers above the house—a key factor in 

keeping the light, modern touch that the homeowners 

desired. Epstein did not design the clerestories in a single, 

straight line; the glass drops down where possible to allow 

the maximum amount of light. It took a bit of convincing 

to sway his clients. “He said, ‘Listen to me, stay with 

my concept, and you won’t be sorry,’” Tetreault recalls. “So 

I stuck with it, and I’m not sorry.” commercial.ykkap.com 


ig idea 

In Georgia, a forward-thinking architect 

builds a multifunctional structure with a 

burgeoning community in mind. 

Artist’s Space 

text by 

Feifei Sun 

photos by 

Mark Hartman 

project 

Lightroom 2.0 

architect 

Lightroom 

location 

Decatur, Georgia 

Architect William Carpenter, 

glimpsed in his second-floor 

design studio (above), built 

Lightroom 2.0 to sit unobtrusively 

among its 1920s neighbors 

in Decatur. New zoning 

allowed for a zero-lot-line 

structure, but required a public 

storefront, which Carpenter 

uses as an art gallery (left). 

Long before he became an architect, 

William Carpenter was obsessed with 

the relationship between buildings and 

the larger environments they occupied. 

For Carpenter, a building is but an 

object without the context that surrounds 

it. “It’s really a neighborhood’s 

history and landscape that give buildings 

their significance,” he says. 

Nowhere is this more evident than 

Lightroom 2.0, a three-story, 52-foottall, 

mixed-use building that Carpenter 

designed in Decatur, Georgia, an artsy 

enclave just east of Atlanta. The ground 

level of the 3,500-square-foot space 

features an art gallery, while the second 

and third floors house Carpenter’s 

design studio and living quarters, 

respectively. Carpenter began conceiving 

Lightroom 2.0 almost six years ago 

after seeing Decatur’s rapid growth and 

gentrification. “I wanted to create a 

place that would not only inspire creativity,” 

he says, “but also bring 

together the community around it.” 

Situated between downtown’s tourist-heavy 

Decatur Square and the quiet, 

more residential Oakhurst community 

southwest of town, Lightroom 2.0’s 

location makes it a prime place for 

neighbors to gather, just as Carpenter 


Àplat is inspired by French 

Art de Vivre which is deeply 

rooted in a culture of friendship, 

where socializing is more than 

a verb but a life philosophy. 

And where generosity is a daily 

 

 

everyday beautiful. 

photo credit: Albert Law 

 

Made sustainably with organic cotton in San Francisco, California. 

aplatsf.com

ig idea 

“A building can have far greater impact 

than the space it stands in.” 

—William Carpenter, architect and resident 

Lightroom 2.0 was inspired by 

artists’ lofts and Decatur’s 

industrial past. The gallery 

floors are polished concrete 

and the exposed joists are 

Georgia-Pacific engineered 

lumber (left). Lightroom 1.0, a 

photography studio, is a freestanding 

structure on the property 

(right). “Together, they 

represent an autobiography of 

my career,” Carpenter says. In 

the living quarters of Lightroom 

2.0, Carpenter’s daughter 

Esme chats with her boyfriend, 

who is seated on a Milo 

Baughman Case Sofa (below). 

intended. The architect took advantage 

of Decatur’s updated zoning laws, 

which favor more pedestrian-friendly 

design standards, such as storefront 

spaces that come right up to the street. 

The gallery has public openings and is 

designed to look like an artist’s loft, 

with concrete floors, large windows, 

and exposed engineered-wood joists. It 

routinely features the work of local 

artists, including Bojana Ginn, who 

projected videos about the use of light 

in architecture on the building’s interior 

and exterior walls as part of a 

November 2015 exhibition. 

One floor above the gallery is the studio 

for Carpenter’s multidisciplinary 

design practice, Lightroom, which gave 

the building its name. At first glance, the 

room looks like a quintessential architect’s 

office: wood models, dozens of 

hardcover design books stacked on 

tables, and framed artwork. But small 

details offer a glimpse into Carpenter’s 

appreciation for place and history. A 

framed poster promoting an exhibition 

by the late Norman Jaffe hangs on the 

wall—the architect was a close friend 

and mentor to Carpenter, who grew up 

on Long Island, New York, admiring 

Jaffe’s modern Hamptons homes. 

Those personal touches also pop up 

in Carpenter’s residence, which occupies 

the third floor of Lightroom 2.0. 

An original black-and-white print of 

Johnny Cash by Alan Messer, a photographer 

and friend of Carpenter’s, hangs 


LEARN. 

CONNECT. 

CELEBRATE. 

In partnership with

ig idea 

on the wall and adds detail to an otherwise 

sparse living area with minimal 

furniture. “I wanted this room to feel 

more sheltered, more like a house,” he 

says. “I think the artwork really helps 

with that—it tells a story. It adds 

another layer of complexity.” 

Similarly, floors made from utility 

oak pay homage of a different kind— 

specifically, to the shipping containers 

that used to pass through town. The 

decision to use wood at all is a testament 

to the design journey Carpenter 

experienced while creating Lightroom 

2.0. He originally envisioned the 

Carpenter kicks back on an 

IKEA outdoor sectional on the 

sealed-pine roof deck of 

Lightroom 2.0. A collection of 

vintage Tulip armchairs by Eero 

Saarinen surround a “Jetsonsinspired” 

fireplace from the 

1970s found online. 


Beautiful 

Rug. 

© U. Roberto Romano 

Beautiful 

Story. 

To learn more about a beautiful rug with a beautiful 

story, watch Sanju’s story here. 

Certified child-labor-free carpets. 

Insist on the GoodWeave label. 

GoodWeave.org

ig idea 

The 52-foot-high roof deck 

overlooks Decatur Square. 

“The building may appear as 

an object, but someday, it’ll 

become the backdrop as all of 

it develops,” Carpenter says. 

The structure shares the lot 

with a 1920s bungalow containing 

a therapist’s office 

that abuts the first-floor gallery, 

as well as Lightroom 1.0. 

“I really believe buildings are part of a city 

as an organism.”—William Carpenter 

building as a steel structure but ultimately 

settled on engineered wood 

after feeling the fallout of the recent 

financial collapse—the first bank 

Carpenter worked with went under 

during the recession, forcing the 

architect to reevaluate the budget. 

Despite all the ambition Lightroom 

2.0 displays, the project is also a study 

in restraint. New zoning laws allowed 

Carpenter to build up to eight stories, 

but he capped Lightroom 2.0 at three, 

plus a roof deck, to preserve the aesthetic 

of the street. He also left an 

original bungalow on the lot intact (it 

now operates as a therapist’s office). 

“There’s a beautiful flow to the existing 

houses from the 1920s on this street— 

they have their own cadence,” he says. 

“It was important for me to maintain 

that because it shouldn’t be us imposing 

modernism into this place. Instead, 

we’re letting it grow from here.” 

Lightroom Site Plan 

A Roof Deck 

B Living Room 

C Kitchen 

D Bedroom 

E Bathroom 

F Master Bedroom 

G Design Studio 

H Gallery 

I Therapist’s Office 

J Lightroom 1.0 


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MODERN MARKET 

The product-packed Modern 

Market section of Dwell just got 

even better with a fresh look and 

an innovative crop of new modern 

designs. In this highly shoppable 

section, you are guaranteed to 

discover that one unique item or 

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at home in the modern world! 

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visit us online at dwell.com! 

URBAN COLONY 

Your vision, our expertise. Custom upholstery 

and furniture handcrafted in Los 

Angeles. Urban Colony’s design showroom 

is located at LA Mart/The Reef, Suite 1030. 

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Lemnos 

This simple table clock features a round case and small, sloped stand. The face includes 

pronounced numbers in an inviting serif font with bold black hands and a brass second hand. 

M Clock, $90 

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MODERN MARKET 

MD Canvas 

Transform Your Space Today with our Jumbo Size Modern Art for JUST $399, plus FREE SHIPPING! 

A "modern digital canvas" is the affordable, strong, and cool art solution for any interior. Over 300 

exclusive images created in our New York design studio are printed with archival inks on rich canvas. 

They arrive to your door fully stretched and in ready to hang sizes—jumbo $399, medium $299, and 

small $199. Sized from three to five feet tall! Get a solid wood frame on any canvas for just $59. 

Call us or shop 24/7 on our secure website. New high-gloss metal prints available from $199! 

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Modern Library Ladders 

The essence of truly good modern design 

is not only defined by how a product looks 

but also by the thoughtfulness of the engineering 

and the quality of the construction 

behind it. Our business is dedicated to 

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Sky T | Element4 

Like nothing you’ve ever seen 

before. The Sky T is a stunning 

see-through gas fireplace 

coming in at over 5 feet tall. 

It is produced by Element4 

(Netherlands) and imported 

by European Home for installations 

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Visit our website to see the 

entire lineup of modern gas 

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seamless styles and offering 

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Feedback Sports | Velo Cache 

Sleek, free-standing bicycle storage solution 

that won't mark your walls or ceiling. Cradle 

arms can be independently adjusted to 

hold all types and sizes of bikes. Soft rubber 

cradles protect bike's finish. 

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Innovation USA 

The Splitback Sofa Bed has a simple, refined 

silhouette that recalls the look of midcentury 

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recline and converts to a full-size bed. 

Splitback Sofa, $1,230 - $1,585 


Zuo 

Part of Zuo’s 2016 Modern Glamour collection: 

Elite Console Table in beautiful Rose 

Gold finish, features a slim profile and regal 

legs supporting a rich black tempered glass 

top. Add this elegant accent to any room in 

your home, office or commercial project. 

Tel. 510-877-4087 

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ThinkGlass 

The finest GLASS COUNTERTOP 

Break free from the mass-market humdrum of granite or marble and let your creativity soar with glass 

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ThinkGlass has exceeded all boundaries when it comes to the art and science of glass craftsmanship. 

The end result is simply stunning, each piece a meticulous unique masterpiece that celebrates the 

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Modern-Shed 

Not only the originator of the 

backyard modern shed craze, 

but innovators of style and 

simplicity. Introducing the 

“Butterfly” available in three 

different roof sizes. 

How will you use your 

new space? 

Art Studio 

Home Office 

Man Cave 

She Shed 

Guest Suite 

Design Guide 

Special Interest Publication from Dwell 

An indispensable resource for completing 

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Download our brand 

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drikolor + Dwell 

Instead of the traditional method of buying 

paint at a hardware store with a tinting wheel, 

this paint is made from stirring historically 

significant pigments into base paint. 

Dwell Stir-In Color Paint, $75 - $85 

Modern Mailboxes 

Home or Office by box 

design usa 

Create curb appeal for your 

home or office with modern 

mailboxes. We have a range 

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mailboxes. We 

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MODERN MARKET 


Prisma Frames 

Clearly Colorful 

Combine color, shape, and 

graphic pattern for versatile 

seamless high-grade acrylic 

frame creations. Customizable 

picture frames and readymade 

options manufactured in 

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TRI-KES 

Be timeless beyond the trend. TRI-KES has the 

contract wallcoverings and fabrics needed to 

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help take your project to the next level. 

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Loll Designs 

Outdoor Furniture for the 

Modern Lollygagger 

The Lollygagger Lounge Tall. 

A higher seat height makes it 

easy to get out of, even 

though you probably won’t 

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Patrick Cain Designs 

Driven by approachable, modular 

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Brass Oakland cube is made using strong 

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Erica Wakerly 

Erica Wakerly has designed elegant graphic 

wallcoverings in her signature modern 

metallics since 2006, celebrated for reflecting 

ambient light and defining the mood of 

a room. 

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CARAVITA 

Belvedere with Easy-Flap-Mechanism 

High-end umbrella Belvedere opens and 

closes with a smooth running lever. Frame 

and canopy each available in 100+ colors. 

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Teenage Engineering 

Designed for music lovers, the OD-11 Speaker is a thoughtfully re-engineered edition of the original 

1974 Stig Carlsson loudspeaker, designed from Carlsson’s original technical drawings. 

OD-11 Speaker, $795 


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Contemporary, 

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Stillwater Dwellings 

Stillwater Dwellings prefab 

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G Squared Art 

Enjoy the unique design and high performance 

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MODERN MARKET 

Louise Gray 

Each graphic quilt from Louise 

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LA Furniture | Modern Luxury 

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Hiring a professional landscape 

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A beautiful design that contains 

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MODERN MARKET 

For more information on 

affordable ways to reach 

Dwell Design Seekers 

or to be a part of Modern 

Market, please email us: 

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Greta De Perry 

The Coleman Stool is a sophisticated 

design that blends 

mixed materials, color, and 

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afarexperiences.com/dubai 

Alden B. Dow Home & Studio 

abdow.org 

Antolini 

antolinipreciousstone.com 

Axiom Series by Turkel Design 

turkeldesign.com/dwell 

Blu Dot 

bludot.com 

BoConcept 

boconcept.com 

Bosch Home Appliances 

bosch-home.com/us 

Cherner Chair 

chernerchair.com 

Crate & Barrel 

crateandbarrel.com 

Deltec Homes 

deltechomes.com 

Dwell Homes 

dwellhomes.com 

Henrybuilt 

henrybuilt.com 

Herman Miller 

store.hermanmiller.com 

Hive Modern 

hivemodern.com 

J Geiger 

jgeigershading.com 

Lumens 

lumens.com 

Modern Steel Doors 

modernsteeldoors.com 

MoMA 

moma.org 

Ortal USA 

ortal-heat-usa.com 

RabbitAir 

rabbitair.com 

Resource Furniture 

resourcefurniture.com 

Subzero 

subzero-wolf.com 

Western Window Systems 

westernwindowsystems.com 

Yogi Tea 

yogiproducts.com 

Joya Rocker by Monte 

You Need A Beautiful Rocking Chair 

Handcrafted in Canada, Monte’s premium rockers and 

glider chairs are sustainable and built to last. 

For your living room, bedroom, or nursery, it will 

become your favorite chair. 

Order free fabric swatches online today. 

Toll-free 866-604-6755 

montedesign.com

Sourcing 

The products, furniture, architects, designers, 

and builders featured in this issue. 

25 Modern World 

Bell Works bell.works 

40 New Territory 

López Resendez Studio 

cargocollective.com/lrstudio 

Saarinen Executive Armless 

chair with plastic back by 

Eero Saarinen for Knoll from 

Hive Modern hivemodern.com 

Desk and coat rack from 

CB2 cb2.com 

Outdoor lounge chairs, 

outdoor dining set, pendant 

lights, rug, and bar stools, 

all from IKEA ikea.com 

Flooring from Lumber 

Liquidators 

lumberliquidators.com 

Refrigerator, dishwasher, 

and mixer by KitchenAid 

kitchenaid.com 

Cooktop and range hood by 

GE Appliances 

geappliances.com 

Countertops by Caesarstone 

caesarstoneus.com 

Loveseat from Room & Board 

roomandboard.com 

Puppy by Eero Aarnio for Magis 

magismetoo.com 

Ceiling fan from Lowe’s 

lowes.com 

Roofing composite shingles 

from ABC Supply Co. 

abcsupply.com 

48 Urban Pastoral 

Baumann Architecture 

baumann.nyc 

Aura credenza by Enrique 

Delamo and Angel Marti for 

Muebles Treku and Paulistano 

leather chairs by Paulo 

Mendes da Rocha, from 

Design Within Reach 

dwr.com 

Elan sofa by Jasper Morrison 

for Cappellini 

cappellini.it 

Sofa pillows by Artek 

artekstore.com 

Custom dining table and 

benches, bed frames, and 

headboard shelves by Philippe 

Baumann, fabricated by Janek 

Furniture baumann.nyc 

HAL dining chairs by Jasper 

Morrison, Vegetal chairs by 

Ronan and Erwan Bouroullec, 

and Elephant stool by Sori 

Yanagi, all for Vitra vitra.com 

Hanging light pendant 

and coffee table by Glashütte 

Limburgglashuette-limburg.de 

Fethiye kilim from Hazal Kilim 

hazalkilim.com 

Parentesi pendants by Achille 

Castiglioni and Pio Manzu 

from Flos usa.flos.com 

Display tracks for artwork 

by Takiya takiya.com 

Striped Tavolo table by Ronan 

and Erwan Bouroullec, Eames 

Desk Unit and Eames Soft Pad 

chair by Charles and Ray 

Eames, all for Herman Miller 


Audrey side chairs by Piero 

Lissoni for Kartell kartell.com 

Altamira Lounge chair by 

Markamoderna 

markamoderna.com 

Diplomat sleeper sofa by 

Blu Dot bludot.com 

Lounge chairs by Salim 

Currimjee, reupholstered with 

Maharam textiles maharam.com 

606 Universal Shelving System 

by Dieter Rams for Vitsoe 

vitsoe.com 

Glenn barstools, and 

children’s tables and chairs 

from IKEA 

ikea.com 

56 Outside Providence 


bernheimerarchitecture.com 

Landscape design by 

Paula Hayes 

paulahayes.com 

Custom shou-sugi-ban 

cypress boards from 

Delta Millworks 

deltamillworks.com 

Aluminum-clad, tilt-turn 

wooden windows by Unilux 

unilux.de 

Skylights by Wasco 

wascoskylights.com 

Custom entry door by 

Creekside Millwork 

creekside-millwork.com 

Sliding doors by Arcadia 

arcadiainc.com 

Locksets by Valli & Valli 

vallievalli.com 

Custom ash millwork and 

paneling by Joe Yoffa 

401-846-7659 

Corian kitchen countertop in 

Glacier White by DuPont 

dupont.com 

Super White paint from 

Benjamin Moore 

benjaminmoore.com 

Tex and Pico tile by Mutina 

mutina.it 

UonUon tile by 14oraItaliana 

14oraitaliana.com 

About a Chair armchair, Bella 

coffee tables, and Tray tables, 

all by HAY hay.dk 

Divina upholstery by Kvadrat 

from Maharam 

maharam.com 

Luxor dining table by 

Cappellini cappellini.it 

Counterweight pendant by 

Fort Standard 

fortstandard.com 

Bend sofa and Metropolitan 

chair by B&B Italia bebitalia.com 

Pix pouf by Arper arper.com 

Rug by Peace Industry 

peaceindustry.com 

Hono stool by Uhuru 

uhurudesign.com 

Camber sofa, Strata rug, and 

Min bed frames, all from 

Design Within Reach dwr.com 

Fermo console from 

BoConcept boconcept.com 

Custom ash bed frame by 


bernheimerarchitecture.com 

Monocle sconces and Excel 

sconces by Rich Brilliant 

Willing richbrilliantwilling.com 

Spin pouf by Claesson 

Koivisto Rune from Property 

propertyfurniture.com 

Rug by Madeline Weinrib 

madelineweinrib.com 

Slim table and Copenhagen 

dresser from Room & Board 


Station bed from Blu Dot 

bludot.com 

Olithas table and bench by 

Landscape Forms 

landscapeforms.com 

Club lounge chairs by 

Prospero Rasulo for Zanotta 

zanotta.it 

Frame chairs by Paola Lenti 

paolalenti.it 

Eos chaise lounges by 

Matthew Hilton for Case 

casefurniture.com 

Toilet by Toto totousa.com 

Bathroom fixtures by 

Ronan and Erwan Bouroullec 

for Hansgrohe Axor 

hansgrohe-usa.com 

66 Renovation 

dSPACE Studio 

dspacestudio.com 

Dining table and chairs 

from Crate & Barrel 

crateandbarrel.com 

SoCo pendant lights by 

Tech Lighting techlighting.com 

Bench cushions from Pier 1 

Imports pier1.com 

Pillows from Target 

target.com 

Sofa, chair, and rug from 

Room & Board 


Table lamps from Cassona 

cassona.com 

Nesting tables from Viva Terra 

vivaterra.com 

Cabinetry, countertops, 

and porcelain floor tile by 

Ernestomeda 

ernestomeda.com 

Kitchen faucet by Dornbracht 

dornbracht.com 

Cooktop, wall ovens, 

and dishwasher by Miele 

mieleusa.com 

Console from Dania 

daniafurniture.com 

Indoor/outdoor rug from 

Garnet Hill garnethill.com 

Wrought iron wall sculpture 

from CB2 cb2.com 

Bathtub by Antonio Lupi 

antoniolupi.it 

Skylight by Velux veluxusa.com 

Lincoln windows from 

Assured Corporation 

assuredcorp.com 

76 My House 

Seibert Architects 

seibertarchitects.com 

Structural engineering by 

Hees & Associates, Inc. 

heesassociates.com 

Metal fabrications by Kinney- 

Johnson Fabricators, Inc. 

kinney-johnson.com 

Landscape design by DWY 

Landscape Architects 

dwyla.com 

Ball Construction 

212-226-8700 

Long-span roof deck by Epic 

Metals epicmetals.com 

Storefront windows by YKK 

AP ykkap.com/commercial 

Corian kitchen island and 

bathroom counters by DuPont 

dupont.com 

Paint in Tomato Red, Cloud 

White, and Rockport Gray by 

Benjamin Moore 

benjaminmoore.com 

Akari Light Sculptures ceiling 

lamp by Isamu Noguchi 

shop.noguchi.org 

Tara faucet by Dornbracht 

dornbracht.com 

Spoon stools by Antonio 

Citterio and Toan Nguyen 

by Kartell kartell.com 

Carpet by Tretford tretford.com 

Purist bathroom fixtures 

by Kohler us.kohler.com 

Neutra house numbers and 

credenza from Design Within 

Reach dwr.com 

Charles sofa by B&B Italia 

bebitalia.com 

Track lighting by WAC Lighting 

waclighting.com 

Bed from West Elm 

westelm.com 

Sliding doors by PGT 

Industries pgtindustries.com 

HVAC system by Nortek 

nortekhvac.com 

Siding by James Hardie 

Building Products 

jameshardie.com 

Shades by Unique Wholesale 

Distributors 

uniquewholesale.net 

86 Big Idea 

Lightroom lightroom.tv 

Storefront windows 

by Kawneer kawneer.com 

Wood I Beam joists with LVL 

flanges by Georgia-Pacific 

gp.com 

Lamp by Philippe Starck for 

Flos flos.com 

TV by LG lg.com 

Risom side chair by Jens 

Risom for Knoll knoll.com 

Strip curtains in Tyvek 

dupont.com 

Pendant lights and outdoor 

furniture from IKEA ikea.com 

104 Finishing Touch 

The Butterfly Joint 

thebutterflyjoint.com 

For contact information for 

our advertisers, please turn 

to page 101. 

Dwell® (ISSN 1530-5309), Volume XVI Issue 2, is published monthly, except 

bimonthly in Dec/Jan and Jul/Aug, by Dwell Media, LLC, 111 Sutter Street, 

Suite 600, San Francisco, CA 94108, USA. In the US, Dwell® is a registered 

trademark of Dwell Media, LLC. Publisher assumes no responsibility for return of 

unsolicited manuscripts, art, or any other unsolicited materials. 

Subscription price for US residents: $28.00 for 10 issues. Canadian subscription 

rate: $39.95 (GST included) for 10 issues. All other countries: $49.95 for 10 

issues. To order a subscription to Dwell or to inquire about an existing subscription, 

please write to: Dwell Magazine Customer Service, PO Box 5100, Harlan, IA 

51593-0600, or call 877-939-3553. 

Periodicals Postage Paid at San Francisco, CA, and at additional mailing offices. 

Canada Post Publications Mail Agreement #40612608. Canadian GST Registration 

No. 82247 2809 RT0001. Return undeliverable Canadian addressess to: 

Bleuchip Intl, PO Box 25542, London, ON N6C 6B2. POSTMASTER: Please send 

address changes to Dwell, PO Box 5100, Harlan, IA 51593-0600. 

102 FEBRUARY 2016 DWELL

finishing touch 

Children streaming in for 

a workshop are greeted by an 

Eichler-inspired playhouse 

(dubbed the “Tikeler”) designed 

and built by The Butterfly Joint’s 

founder, Danny Montoya. 

Future 

Makers of 

America 

text by 


photo by 

Aaron Wojack 

A San Francisco woodworking studio 

for kids offers both carpentry skills and 

an appreciation for design thinking. 

AS SHOP CLASS GOES THE WAY OF THE FLIP PHONE, 

former schoolteacher Danny Montoya is helping 

kids 18 months and older to distinguish between 

a box joint and a dovetail at The Butterfly Joint, 

the woodworking and design studio he founded 

in June 2015 in San Francisco’s Mission District. 

Much like the young chefs wielding knives with 

aplomb on MasterChef Junior, these mini-makers 

are in control of their scaled-down chisels, hand 

planes, saws, and files. And there is something 

gratifying about seeing a roomful of five-year-olds 

gently guiding Japanese pull saws through salvaged 

redwood, rather than stabbing at screens. 

Much of the wood has been reclaimed from 

discarded pallets, leading to some teachable 

moments. Says Montoya, “We talk about how 

instead of ending up in the landfill, this material 

is being transformed into a floating shelf, a box 

stool, a sculpture, or a keepsake box that they 

can hand down someday to their own kids.” 


Sitting Is Never 

Just Sitting 

Find a retailer 

hermanmiller.com/retailers 

Shop today 


 

EMBODY ® CHAIR Designed by Bill Stumpf and Jeff Weber, MIRRA ® 2 CHAIR Designed by Studio 7.5, 

AERON ® CHAIR Designed by Bill Stumpf and Don Chadwick, SAYL ® CHAIR Designed by Yves Béhar, SETU ® CHAIR Designed by Studio 7.5

“They really enhance the room. 

People walk in and they are awed.” 

- Sharon Newman, homeowner 

western 

window systems 

westernwindowsystems.com

Dwell 2016-02

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