They knew the galley kitchen was cramped, the bathrooms were outdated and the tiny windows all but concealed the spectacular views outside. In their minds, the location made up for the home’s lack of character. “It was one of the ugliest houses in the neighborhood,” recalls Karen Grissen. “But Dave was very attracted to the lot being set back here…because of the freedom in the back, not seeing other homes and being able to walk down to the [C & O] Canal.” They bought the 1960s-era center-hall colonial realizing the potential for expansion on its secluded lot.
During their home search, the couple was also drawn to the work of architect Jim Rill, who was designing several unique Craftsman-style homes in the Potomac community of Merry-Go-Round Farm. As soon as they moved in, they set up a meeting with Rill to discuss a renovation.
Little did they know, that initial conference marked the beginning of a decade-long collaboration that would encompass not one, but two, major additions to their home. The Grissens first approached Rill to create a larger, more open kitchen with a breakfast area, a three-car garage and a family room where they could gather with their two young sons. The homeowners envisioned a typical remodeler’s bump-out from the rear, but Jim Rill had other ideas.
“One of the things we really responded to was the site,” Rill recalls. “The house had no connection to the yard, either physically or visually. The kitchen ran across the whole back [of the house] but had a little tiny window. So when you walked in, you saw nothing.” Behind the house was a spartan kidney-shaped pool surrounded by a concrete deck.
Rill proposed building a new wing on the north side of the house set at an angle so that it would not overwhelm the original structure. It would encompass a new garage on the lower level and a light-filled, vaulted family room above it. The home’s former family room would become a spacious kitchen opening to the new family room. What was once the galley kitchen would become a butler’s pantry connecting the new kitchen to the dining room.
Rill’s plan, completed in 2001, also opened up the interior to improve traffic flow throughout the house—and take advantage of the woodsy views outside. Now, there’s an instant visual connection to the outdoors through French doors in the dining room and plenty of windows in the kitchen and family room. A major overhaul of the existing pool by Rowan Landscape Company—including the addition of a waterfall flowing into a hot tub—greatly enhanced the back-yard setting. “By angling the addition a little bit, we were able to give it some drama,” says Rill.
To lend the home character and architectural detail, he honed in on Karen and Dave Grissen’s fondness of Craftsman and shingle-style design. “We call it Colorado rustic Arts and Craft,” says Karen Grissen. “I’m from California, Dave’s from Michigan. We spend a lot of time in Colorado. We just love the architecture out there.”
Rill enhanced the home’s façade with a new front porch and a breezeway with a dormer above that connects the main house to the new wing. A change of materials helped transform the typical colonial into something more eclectic without sending shockwaves through the established neighborhood. “We went with shingles on the second floor and we changed to copper roofs for the breezeway connection,” explains Rill. “We put the balustrade around the front of the house to give it some formality.” Crafstman-style elements also distinguish the interiors, from the custom trusses and the dry-stacked fieldstone fireplace in the family room to the slate floors in the kitchen.
“The second addition kept that inspiration going,” says Rill, describing the most recent phase of the program, which he designed with colleague Kay Kim. An executive in the hospitality industry, Dave Grissen hosts frequent business events at home and liked the idea of creating a large space for entertaining. In addition, the Grissens had grown tired of their small master bedroom and bath in the original part of the home. The idea of building a new wing on the southwestern side of the house was born.
Rill and Kim designed a three-story addition, to be connected to the side of the home by a three-story breezeway. The new master suite, located on the main level, boasts a bedroom with coffered ceiling; a luxurious bath overlooking the woods; a spacious closet with custom-designed cabinetry; and a splendid screened-in porch overlooking the pool. A stairway leads from the suite to Dave Grissen’s third-floor private office, where he can truly focus on work away from the activity of the household.
A curved gallery from the original home’s living room (now used as a den) leads to the master suite and Rill and Kim’s pièce de résistance: an open, freestanding curved mahogany-and-steel stair leading down to the wing’s ground-level entertainment room. “This curve is like a signature by Jim Rill,” says Karen Grissen. “To me, it is like a piece of art.”
The lower level is home to billiards and shuffleboard tables, a seating area surrounding a stone fireplace and flat-screen TV, a full granite-topped bar equipped with another TV and beer on tap, a home gym and a spa bathroom complete with changing room, sauna and steam shower.
On the outside, the architects and builder extended the patio surrounding the pool and paved it with flagstone. They also created a large outdoor fireplace—a last-minute request from the Grissens that got plenty of use during several recent dinner parties.
Rill can hardly contain his enthusiasm when describing how much fun is packed into the entertainment space. “It’s a cabana, it’s a tavern, it’s a terrace, it’s a deck, it’s a family room, a living room, a game room. It’s all those things tied into one. Containing it so that it actually feels like it’s not busy was probably the biggest achievement here,” he says.
Throughout the basement space, materials achieve a rustic but sophisticated look, from the flagstone floors to the mahogany-paneled coffered ceiling and vintage wooden beams. “We wanted the floor to be flagstone so the pool material came right into the house to make it feel like it’s a part of the outside,” explains Rill. “By painting the ceiling coffers green, we also tie into the natural surroundings.”
Despite the clubby feel, the room is full of natural light with windows and French doors wrapping two sides of the space. “Having this much glass in the basement was a real feat too,” continues Rill. “We didn’t want it to look like an addition sitting on a glass block, so we worked on that with columns and brackets and porches. You always get a sense of light from all parts of the house and strong connections to the beautiful views.”
Rill credits his clients for their receptiveness to the playful design elements that make their home complete. “We had a lot of freedom to play with and create fun, eclectic stuff and work with different materials,” he says. “And the builder made it very possible.”
“The new wing has allowed us to entertain more,” says Karen Grissen. “We had 85 people here recently, and it didn’t seem crowded at all. We probably could’ve had another hundred.”
When they first bought the original house, the Grissens never would have imagined what the typical colonial would become. Reflecting on the latest phase of the project, completed one year ago, Karen Grissen says, “When I wake up in the morning, I see a great view from the house and the porch, and the [sound of the] waterfall carries when we open up those French doors. I’m enjoying being home more.”
Photographer Lydia Cutter is based in Arlington, Virginia.
The curved mahogany-and-steel staircase was an engineering
challenge for the architects and builder.
The curved staircase leads to the lower level of the new wing
—an entertainment center complete with a granite-topped bar,
a stone fireplace and seating area, and pool and shuffleboard
tables. Rill suggested painting the ceiling coffers green to tie in
with the outdoors. Flagstone floors, mahogany ceiling panels
and rough-hewn vintage beams create a rustic feel.
The newly expanded pool terrace complete with outdoor hearth
is a great spot for parties all year round. A far cry from the
original home with its tiny windows, the new three-story
wing incorporates the entertainment room on the ground
level, the master-bedroom suite on the main level and an
office space and additional bedroom on the third floor.
Large windows, French doors, porches and catwalks
establish a strong connection to the outdoors.
Ginna Leatherbury and her husband were not strangers to living amid nature. In the early 1990s, they completed a weekend mountain house, designed by Mobley and built of wood and stone on 50 unspoiled acres near Little Washington, Virginia. For years, the couple had been thinking about trading the McLean condo where they lived during the workweek for a new home in a more pristine setting—if only they could find the right spot.
The McLean lot Bob Mobley discovered for them fit the bill. It was close to town, but its wooded setting and river views made the property a true escape. Before long, the land was theirs, and Mobley hit the drawing board. “They told me they didn’t want this one to look like the mountain house. On the new house, it was pretty clear that they wanted something more formal, and something that would take advantage of the river view.”
The sloping lot dictated where the house needed to be. “The site was configured in such a way that we didn’t have a lot of space to move the house forward or backward,” explains Mobley. Intent on designing a home that would blend in with rather than dominate the landscape, he proposed a plan: to build the house into the slope, maintaining a low profile on the front elevation. The finished home has four stories plus a roof deck, but the lower two levels are only visible from the back.
“We decided to do a ‘vertical’ house,” says Mobley. “From the street, it’s two stories. The two lower floors are partially in the ground but still have floor-to-ceiling views to the north and the river. We tried our best to give every room a view of the river.”
Drawing from the Arts and Crafts style, Mobley emphasized the horizontal lines of the home on the exterior. Clad in engineered but completely realistic-looking stone with a standing-seam metal roof, the house blends unobtrusively into its surroundings. “I wanted a house that looked like it belonged on the river,” says Mobley.
The architect played up the drama of the setting in his interior plan. From the front of the home, visitors have no visual clues that the house is set above the Potomac. The single-story foyer opens into a soaring 35-foot-high great room with a wall of windows that finally reveals the river below.
Despite its low profile, the home consists of 12,000 square feet of highly functional space. It incorporates an exercise room complete with an indoor “endless” pool and sauna, plus a dedicated fly-tying room, where the husband prepares for fishing trips, on the lowest level; two guest rooms, a media room, a wine cellar and a complete guest apartment on the next level; and the foyer, great room, dining room, kitchen and an office for Ginna Leatherbury on the main entry level (actually the third floor). Upstairs is the master suite with a sitting room and luxurious bath, as well as a trophy room where the husband, an avid hunter, displays many of his conquests. Above it all, a private roof deck with a hot tub, fireplace and fabulous river views beckons. There are eight fireplaces, seven bathrooms and an elevator on either side of the home.
During the planning stages, Ginna Leatherbury and her husband engaged interior designer Linda Houghton, who also decorated their mountain house. “Once we had the final plans, Linda was involved,” says Ginna Leatherbury. “She made so many changes I never would’ve thought of. I couldn’t recommend working with a designer at that stage more highly.” Houghton made some valuable suggestions on materials and art lighting well before construction began.
“Though they travel, their real joy is in their homes and in entertaining,” says Houghton of her clients. In the great room, she explains, “The expanse of vistas and the view of the river expand as you come into the house. We wanted to create a place where you could sit and enjoy the view and the architecture of the space. The color scheme was critical to that, with browns, beiges and strong red accents. It still has the feeling of the great outdoors, but it’s a totally different kind of retreat.”
Once they selected a color palette, “the hunt began,” says Houghton. She and Ginna Leatherbury embarked on the detailed process of choosing furniture, fabrics, rugs, art and accessories for the new home. “It became very eclectic as we went along,” says Houghton. “There are a lot of traditional lines in the house—the columns, the moldings. The furnishings are transitional. We realized the artwork would be modern—a good counterpoint to the house and furnishings.”
Despite its soaring height, Houghton brought the great room down to earth with comfortable upholstered pieces, panels of gossamer fabric that merely frame the massive glass windows and a custom rug of her own design.
The great room opens directly to the dining room, where a dropped coffered ceiling establishes a sense of intimacy. A decorative paint treatment on the ceiling, which is lit around the rim, adds a patina of elegance to the space. The granite-clad fireplace is a mirror image of the larger one in the great room.
The adjacent kitchen is sleek and modern with a curvy low-voltage lighting system, stainless-steel appliances, lacquered cabinetry from Studio Snaidero and even a wood-burning pizza oven. The husband, a gourmet cook, also enjoys grilling on the large deck located right off the kitchen.
Now settled in to their new “city” home, the couple enjoys the change of seasons in their aerie, where they often spot eagles soaring above the treeline. From the main garage, a driveway winds around to a garage behind the house, where the husband keeps a fishing boat that he built himself. He hauls the 17-foot craft down to the river with an all-terrain vehicle. In accordance with environmental regulations, the path to the river turns from pavement to gravel as it nears the Potomac; contractors managed to establish the path without disturbing a single tree.
“In the summer, it’s an oasis. Everything is so lush,” enthuses Ginna Leatherbury on a sunny fall afternoon. “In less than four weeks, you’re going to be able to see forever. We’ll be able to see if the water is clear or muddy and what the current is like. We have a drop-dead view of the river when the leaves are down.”
H&D: How does flooring affect the overall look of a room?
Kelly: Flooring is one of the most important parts of the design process, as well as a substantial part of the overall architecture of any space. Flooring sets the tone for an entire room—it can be formal or casual, traditional or modern. It’s not just something to be walked on; it should also be appreciated.
H&D: What colors should consumers consider when choosing a floor?
Kelly: The interaction of color and architecture is the very foundation of interior design. Personally, I love the serene tone of white distressed floors. Black flooring can be striking in the right setting and can really bring a sense of scale to a room. I do not recommend orange or red floors to my clients, because those colors seem to limit the overall design.
H&D: What are some common mistakes to avoid when selecting hardwood flooring?
Kelly: There are so many flooring options to choose from today. Homeowners should make an effort to educate themselves by asking for professional help when exploring options. Floors will most likely stay with the house for a lifetime, so it’s a big decision. Take your time and really consider how flooring choices will play into the design scheme. Choose a high-quality, versatile floor that you’ll be able to appreciate for many, many years. It all comes down to installation—using the very best installer is a very important part of the process, and not something to be skimped on.
The Carpet Conundrum
Joe Kruper, sales director of Abbey Carpet in Woodbridge, Virginia, offers advice on choosing the right carpet
H&D: At what stage should a homeowner consider carpet choices?
Kruper: Carpet should be considered soon after selecting the fabrics, pillows, and furniture being used in an area. Be careful if time is a concern. Carpet is not always readily available and should be selected at least three weeks prior to the day needed for install.
H&D: How does carpet affect the overall look of a room?
Kruper: Carpet can really determine the mood of a room. You can go formal (low, tight-cut floral, a velvet plush, etc.), relaxed (flecked berber, textured Saxony), colorful or neutral. Each style adds a different feel and look to a room, depending on what the homeowner is trying to achieve.
H&D: What are the best carpet choices for families with children and pets?
Kruper: Families in an active household would do best with a frieze (twist), or low-cut pile pattern with a little darker color. Either of these styles when purchased in a nylon fiber-type would perform well both in durability and cleanability. Just remember carpet is a fiber and all fibers will show traffic and can stain, depending on the chemical make-up of the stain.
H&D: What are the best carpet choices for people with allergies?
Kruper: People are usually not allergic to the fibers. The dust and excess fiber that comes off carpet is what affects them the most. People with allergies would do best to stay away from thick, stapled, cut-pile products. They would do better with either continuous filament plushes or berbers (olefin or nylon).
H&D: What are manufacturers doing to make their products “green?”
Kruper: Manufacturers are building plants that will enable them to break carpet waste down into pellets, melt the pellets and re-use them in new carpet. This will drastically help landfills and the environment. All manufacturers will have labels on the products that can be recycled.
H&D: What are some common mistakes to avoid when selecting carpet?
Kruper: When selecting carpet, a client should first find a salesperson who they trust at a reputable dealer. They then should discuss their needs with the salesperson (adding color, durability, etc.). A common mistake made when selecting carpet for a high-traffic area is using a product that is too light. Do not be afraid to go a little darker. This will help hide any stains caused from a spill or normal traffic. Also, be careful with loop piles when pets are involved.
H&D: What are some of the new trends in carpet?
Kruper: Darker colors and softer fibers are among the new trends hitting the market. Stainmaster (Tactesse) and Anso (Caress) are two fiber companies leading the way, with nylon fibers that feel like cotton, without giving up durability or stain protection. Patterned carpets are also starting to make a comeback in the Interior designer Stan Kelly prefers white-washed wood floors for a relaxed, clean look. He created his own white-washed flooring line, recently used in this office design. Photo by Kevin Allen.industry. Karastan, Staunton, Tuftex and Fabrica are among the manufacturers producing beautiful florals, pin-dots, trellises and diamond-patterned styles. Wool products are still a popular selection for those looking for unmatched durability at a higher price point.
Floor Art
Springfield, Virginia, designer Shanon Munn, ASID, of Ambi Design Studio dishes on decorating with patterned area rugs
H&D: What does a decorative area rug bring to a room’s design?
Munn: The rug plays a huge role in the room’s design. It is the foundation of the space and often sets the tone of the room. In many cases it is the most expensive item in the space, but done correctly it can be a timeless investment as it can be taken from space to space and home to home.
H&D: How do homeowners know when they have too much pattern in their rug to go with other items in the room (fabrics and art)?
Munn: If you love it, there can never be too much pattern in a rug. Combining patterns deals with scale. If there is a large pattern on the rug, smaller patterns might look good on top of it, while a small pattern on your rug may allow for large patterns. Often, patterns that are the same size don’t look very good layered on top of each other.
Art is an investment, and homeowners need to buy what they like. Also, since your art is probably not sitting right on the rug or furniture, it is not as important to worry about the scale of the designs. Rather, it is more important to worry about a painting’s overall scale to the wall it is on and that the colors are compatible.
H&D: If homeowners are interested in incorporating a rug in their home, at what stage in the design process should they make a selection?
Munn: I try to first determine the look of the space using concept or inspiration photos with a client. During this process, a decision is usually made as to whether the room will use a patterned rug or perhaps a simpler bound area rug. Next, I start with the design element that has the least amount of choices. For example, if the client would like a patterned rug I start there, then look for fabrics, then finish with wall colors.
However, if the client wants the room to have more pattern on the furniture and a solid rug base, then I start with the fabrics, go to the rug and finish up with wall colors.
Marc Phillips recently introduced the Metro Collection of
Tibetan rugs with geometric motifs.
Luxurious and environmentally-friendly rug from Odegard;
Lily pattern in titanium.
Construction entries included a "Take-Out Hunger" carryout carton by Gensler-Arlington
A design/build competition helps wipe out hunger
Fourteen teams of architects and builders created inventive sculptures out of canned food at the American Institute of Architects/Northern Virginia Chapter’s Fourth Annual Canstruction Competition. When the event was over, more than 22 tons of canned goods were donated to the Arlington Food Assistance Center (AFAC), a non-profit organization providing supplemental groceries to families in need.
Held at Ballston Common Mall on March 30, the event was open to visitors, who could watch the outrageous structures take shape. This community-service event is also a design competition, with a panel of judges selecting winners in four categories. This year, the Juror’s Favorite award went to “e-RACE Hunger,” a race car model by Samaha Associates made of 3,433 cans.
Canstruction is a national program with dozens of competitions taking place every year in conjunction with the American Institute of Architects and other members of the design/build community. The Washington Architectural Foundation will sponsor a Canstruction Competition in DC, starting September 15th, 2007. Proceeds will benefit the Capital Area Food Bank. Visit www.wafonline.org. To learn more about Canstruction, visit www.canstruction.org.
—Sharon Jaffe Dan
An intimate portrait of Edward Hopper
In anticipation of a major Edward Hopper exhibit opening at the National Gallery of Art on September 16th, art historian and curator Gail Levin will speak about the artist at the Corcoran Gallery of Art on July 9th. Levin has researched the life of Hopper since 1976 and has written several books about him, including an updated and expanded version of Edward Hopper: An Intimate Biography, recently released by Rizzoli International. Her lecture promises to paint a vivid portrait of Hopper’s true nature and personality, as well as the factors that influenced his art. Admission is $15 for the public and $12 for members of the Corcoran. Call (202) 639-1700.
On the Bookshelf
New releases for design and architecture buffs
Grand Avenues: The Story of the French Visionary Who Designed Washington, D.C. by Scott W. Berg tells the story of Pierre Charles L’Enfant and the creation of the nation’s capital. The French national who volunteered in the American colonial army was hired by George Washington to design the city. As Berg’s fascinating tale documents, an embattled L’Enfant resigned from the project less than a year later, and did not receive credit for his brilliant design until a century had passed. Berg, who holds a B.A. in architecture, teaches nonfiction writing and literature at George Mason University. Pantheon, New York, NY, 2007; $25.
Hugh Newell Jacobsen Architect is the third volume of a series showcasing the work of the visionary Washington, DC, architect whose modern work draws inspiration from vernacular styles. This richly photographed book presents some of Jacobsen’s most recent projects, including residences, university commissions, a winery and more. Rizzoli, New York, NY, 2007; $60.
Dream Gardens: 100 Inspirational Gardens by Andrew Lawson and Tania Compton takes landscape enthusiasts on a tour of modern gardens in all parts of the world, from small urban hideaways to expansive rural landscapes. Stunning photos document the layout of each garden and also spotlight key features and essential details. Dream Gardens is a great reference guide for homeowners seeking outdoor inspiration. Merrell, London, 2007; $39.95.
Rooms to Inspire: Decorating With America’s Best Designers by Annie Kelly features the homes of 12 gurus of style, from New York designers Muriel Brandolini and Jonathan Adler to Kelly Wearstle, a judge on Bravo’s “Top Design,” and Barney’s creative director Simon Doonan. The book offers personal perspectives and advice from the experts, whose homes range from urban apartments to country retreats. Kelly explores the use of color, balance and innovation; her husband, Tim Street-Porter, produced the book’s striking photography. Rizzoli, New York, NY, 2007; $50.
—SJD
A behind-the-scenes pair gains visibility with a new Washington showroom.
Mitchell Gold and Bob Williams aren’t household names, but their popular furnishings have certainly changed households across the country. The duo is responsible for many of the designs sold by Pottery Barn, Crate and Barrel, Restoration Hardware and other national retailers. Their sofas and chairs fill rooms at Ritz-Carltons, Barnes & Nobles and Starbucks; and the sets of television shows like “Sex and the City” and "Friends.”
Now Gold and Williams want Washingtonians to become familiar with their names through the eponymous shop that sells their stylish yet laid-back furnishings. In May, they officially opened Mitchell Gold + Bob Williams in a converted Cadillac showroom on 14th Street, NW. “We chose not to go to Georgetown because it’s too touristy,” says Gold. “Furniture stores do better in growing neighborhoods like this one.”
The new emporium joins a dozen other freestanding signature stores opened by the pair in the U.S. and Mexico since 2002.Gold oversees business and marketing for the 18-year-old Taylorsville, North Carolina-based company, while Williams serves as president of design.
Welcoming customers are their most recent designs, arranged under the ornate, coffered ceiling of the 1920s car showroom. They include Dr. Pitt, a family-friendly, mosh-pit sectional, and Flo, a 1950s-inspired, kidney-shaped coffee table. Displayed further back are two-seater “sofettes,” leather club chairs, wicker tables, upholstered beds and that Washington staple—the wing chair. Adorning the walls are photographs by Tipper Gore; Gold met the former Vice President’s wife at a 2001 fundraiser for the Human Rights Campaign, decorated her Arlington, Virginia, home and now sells her work.
While there is no single Gold-Williams look, the brand is guided by the constant principle of comfort. “Furniture should make you feel good,” says Williams. “That means a good cushion and good back support in a chair, the right height and depth in a sofa, colors that aren’t too harsh.” He and Gold have just published their tips for creating relaxing interiors in the book, Let’s Get Comfortable (Meredith Books, $34.95), which is showcased in the new store. Future plans include launching a catalog business in September and other stores in the DC area, perhaps in Bethesda and Tysons Corner. “We are still looking for the best location,” says Gold.
Mitchell Gold + Bob Willliams is located at 1526 14th Street, NW; phone (202) 332-3433 or visit www.mitchellgold.com.
—Deborah K. Dietsch
"We CAN Solve the Hunger Puzzle" by Mulvanny G2 Architecture.
Edward Hopper's "Ground Swell"
GIATI Designs' Fifty Five collection marries the durability of teak with the contemporary lines of stainless steel. The collection includes an armchair, two tables and a chaise on wheels (pictured). All are stackable for easy storage. Available at J. Lambeth & Co. in Washington, DC, (202) 646-1774, or visit www.giati.com.
Free-form shapes and vibrant colors distinguish Moroso's latest outdoor seating options. The Supernatural Chair is made of molded polyamide and comes with or without a perforated back. The stackable chair is available in white, yellow, sky blue or black. The Big Easy is made of polyethylene and comes in chalk white, black, red and blue. Visit www.morosousa.com.
The Chorus Dining Set by Gloster includes stackable armchairs and a 47-inch round table with a ceramic top. The chairs are made of powder-coated aluminum frames covered in hand-woven, weatherproof fiber. Visit www.gloster.com.
Create architectural interest outdoors with Aidan Gray's new collection of antiqued wire accessories, which range in size from 12 inches to a dramatic 7.5 feet tall. Crafted of wire and steel, the pieces are powder-coated then hand-painted to achieve an aged look. The Ivy Garden Chandelier will create a romantic glow over your dining table. The Leaf Urn, at 43 inches tall, makes for an elegant display. Visit www.aidangrayhome.com.
Artifacts International recently introduced an outdoor-furniture line that includes the antique-style Pavia Stone Console. It's part of a European-inspired collection made of exterior cast stone and exterior fiber stone. The line also features a sofa, a chaise, an occasional chair and additional tables. For more information, visit the Web site www.artifactsinternational.com.
The Under the Tree garden shower lets you cool off beside the pool or anywhere else in your garden. The stainless-steel fixture can be secured into the grass with an extra-long spike and connected directly to a garden hose. It features several ""branches"" that keep towels dry. Under the Tree is made by German furnishings company Conmoto, which also manufactures products for Dornbracht and Duravit. Visit www.conmoto.com.
Sitting pretty in the great outdoors, Alaxi Sunbrella fabrics are stain-, fade-and soil-resistant—and full of style. From left to right, the line's elegant patterns include Garden Scroll in Spring, Lola in Pacific and Cambria in Mango. Available at Niermann Weeks. Phone (202) 488-1220 or visit www.niermannweeks.com.
Lloyd/Flanders' Ambiente Dining Chair is part of an 11-piece collection. It's made of hand-woven vinyl on an aluminum frame. Homeowners can choose among 160 acrylic cushion fabrics for indoor or outdoor use. Available locally at Offenbacher's and Spas East. Visit www.lloydflanders.com.
The Randi Resin Weave Club Chair by Walters Wicker brings comfort and curves to al fresco spaces. Its lightweight, aluminum frame is covered with an outdoor resin that enables it to weather the elements. Available at J. Lambeth & Co. in Washington, DC, (202) 646-1774, or visit the Web site www.walterswicker.com.
Aware that the seeds were planted in the commercial sector, we approached this special green issue of HOME & DESIGN wondering what kind of movement we’d find in the local residential market. Today’s homes have a substantial impact on the environment—and not a good one. According to the U.S. Green Building Council, buildings overall represent 48 percent of all carbon dioxide emissions in the country; homes on their own represent 21 percent of these emissions.
While we have a long way to go before these numbers take a downward turn, we are pleased to report that the green building movement is alive and well in the Washington area. Knowledgeable builders, architects, interior designers, and developers are helping their clients build healthier, more energy-efficient homes. The projects we spotlight on the following pages vary widely in their levels of “green-ness.” Dozens of factors, including budget, scope, site constraints, personal priorities, timing, and patience, affect a homeowner’s decision on how green to go.
On the following pages, we’ve come up with a few guidelines to help you get started on a greener path.
1) practice energy efficiency.
Whether you’re buying a new washing machine or building a new house, you should factor energy efficiency into your decision-making process. It’s a simple equation: Reducing the consumption of fossil fuels, in turn, reduces the carbon dioxide emissions that cause global warming.
Creating an energy-efficient house, however, is not so simple. Typical American homes lack energy-efficient appliances, windows, and insulation and therefore consume extra energy to compensate for loss of heat and air conditioning.
If you are building a home or starting a renovation, an experienced architect can help design a “tight building envelope” that will minimize air infiltration and maximize energy efficiency. He or she will position your home to take advantage of passive solar gain, recommend an environmentally friendly insulation (such as Icynene foam) and install low-E windows with argon gas that help keep heat in during the winter and out during the summer. You can also consider alternatives to fossil fuel-burning energy, such as solar power, wind power or geothermal heat.
While the upfront costs of such systems may be higher than their conventional counterparts, they will save you money in the long run through reduced utility bills. Likewise, choosing Energy Star-rated appliances and lighting will help you reduce consumption and save a few dollars too.
Architect Susan Pierce and her husband Kelvin, who own Commonwealth Home Remodelers in Vienna, Virginia, are in the process of building a vacation home in the Blue Ridge Mountains that adheres to rigorous LEED (Leadership in Energy and Environmental Design) guidelines developed by the U.S. Green Building Council. The project’s heating and cooling systems will combine hydronic and geothermic technology. Additional heat will come from a masonry stove in the great room. “The cost to make a house as energy-efficient as possible is so worth it,” says Pierce. “For most people, it makes sense to spend the extra money.”
2) renew, recycle, replenish.
Whether you are planning a small renovation or building a new house, there are many ways to reduce waste, one of which is to reuse or recycle materials. Architect Bill Hutchins of Helicon Works in Washington, DC, incorporated a number of salvaged materials in the renovation of his 100-year-old Takoma Park bungalow, from framing lumber to windows and doors. “Using salvaged materials is great,” he says, “because they’re otherwise just going into landfills,” Hutchins recommends several local outlets where homeowners can either donate materials they are discarding or search for their own special finds. Community Forklift in Bladensburg, Maryland, for example, accepts goods for tax-deductible donations. In turn, the company sells recycled wares for around half of their market price. Other outlets for salvaged goods include the Loading Dock in Baltimore and Habitat for Humanity’s ReStores in Alexandria, Gaithersburg and Pasadena, Maryland, near Annapolis.
Of course, buying new products made from recycled materials also helps reduce waste. Homeowners can find carpet made from recycled soda bottles, countertops made from recycled paper and tiles made from recycled glass.
3) build a healthy home
Conventional building materials often harbor harmful materials, from formaldehyde in cabinet particleboard to off-gassing chemicals in carpet backing. Homeowners can find plenty of healthy alternatives in the marketplace if they do their homework and know the right questions to ask.
Alan Abrams, a certified building designer and principal of Abrams Design Build in Washington, DC, recently downsized from a single-family home to a condominium
“Doing this renovation is a way, I think, of putting certain values into action,” says VanArsdale. “It’s also a demonstration of how you can ‘green’ a hundred-year-old house.”
The knowledge they can bring to the table, the more fruitful a collaboration with a builder or an architect will be, says Bill Hutchins, who designed the floating stainless-steel-and-ash stair and some built-in furnishings in VanArsdale’s home. “A lot of it comes down to how well versed the client is and what kind of questions they’re capable of asking,” he says. “My best clients come highly educated. I learn from them.”
When seeking a green builder or designer, architect Susan Pierce advises homeowners to “look for someone who has a LEED certification project under their belt. If someone is able to discuss options freely and easily and express enthusiasm,” he or she is likely to be a good candidate.
Once you’re past the learning curve, says VanArsdale, building green becomes a logical decision-making process. “To me, the difference between green building and the conventional building is a question of how much thought you put into each component of the house and how those components work together as a whole. In green building, you’re always thinking about how you can squeeze out a little more performance or efficiency from the building’s systems or how you can make it healthier or more environmentally friendly.
“Once you learn how to do it, there’s no reason not to,” he says. “The result is superior, more comfortable, more efficient, healthier and more durable.”
RESOURCES
The Internet is a great resource for homeowners who want to learn about sustainable design. The following Web sites will help you embark on a green project of your own.
American Society of Interior Designers' Sustainable Design Information Center; www.asid.org.
Co-op America; www.coopamerica.org
Energy Star; www.energystar.gov.
Forest Stewardship Council; www.fscus.org.
Green Seal; www.greenseal.org.
U.S. Green Building Council; www.usgbc.org.
This concept bath—one of six vignettes on view at the Kohler Design Center in Kohler, Wisconsin—incorporates natural and recycled materials without sacrificing functionality and style. Called "Woodland Sanctuary" by its London-based designers, Nikki Blustin and Oliver Heath, this serene sanctuary incorporates Kohler's Escale Suite in dark wenge wood. A floating ceiling panel with leaf-shaped cutouts emulates light filtering through a canopy of trees, while 3form's Eco Resin walls also evoke the forest. For details, visit www.kohler.com.
New Jersey-based Advent Stone creates luxurious soaking baths, basin walls and sinks out of select pieces of stone from South America, Europe and Asia. This bath was carved by hand from yellow travertine and then polished on the exterior for a smooth finish. For more information, call (201) 444-0426 or visit www.adventstone.com.
Jamie Drake Collection's Profil fixture for THG boasts sculptural handles with inlays of horn (pictured) or precious stone. Inspired by Italian Futuristic design of the 1950s, Profil is available in chrome, matte nickel, nickel and luxbrass. Visit www.thgusa.com.
Waterworks has introduced Aqualinea, a new line of precision-cut mosaic tile. Made with water-jet technology, the new motifs are suitable for larger installations such as shower floors. The line encompasses 30 style/color combinations, including (clockwise from above) Pisces, Sinewave, Sachet, Park Place and Parasol. Call (202) 333-7180 or visit www.waterworks.com.
Merillat has introduced Peppercorn, a semi-transparent finish with rich black overtones, on its Masterpiece collection of semi-custom cabinets for kitchen and bath. Peppercorn is available on oak and cherry door styles. The line also includes three new styles of mullion glass doors. For details, visit www.merillat.com.
Forms + Fixtures has unveiled its Serenity collection of Asian-inspired furnishings designed to transform the bath into a soothing retreat. Part of the line is EOS, constructed of wood maple solids and veneers and hand-finished in silver or copper leaf (pictured). There is even storage space inside. Visit www.formsandfixtures.com.
Coming this summer to Architectural Ceramics's five showrooms is the new Tribeca series from Keraben. These ceramic tiles from Spain are rectified (which means they butt closely together, with minimal or no grout joints) and polished to create a mirror effect that mimics the look of glass. Visit the Web site www.architecturalceramics.net.
The ultimate in après-bath pampering is to wrap yourself in a heated towel. Jacuzzi's new Home Spa Towel Warming Drawer does the trick, heating up to four towels at a time to a toasty 120 degrees. The drawer can be integrated to match existing cabinetry and comes in 24- and 36-inch models. Visit the Web site www.jacuzzi.com.
Acryline's new Acryzen bathtubs are contoured to cradle one or two bathers and feature a pair of anatomically comfortable backrests with lower lumbar support and armrests on both sides. All three baths in the collection are available as soaking tubs or with a choice of three different warm air-hydro massage systems. Visit the Web site www.acrylineusa.com.
It's hip for tiles to be not square. These glass rectangular field tiles from the Oceanside Elevations collection, with their convex curves, add shimmer and texture to the bathroom wall. Available through Renaissance Tile and Bath in Alexandria. Call (703) 549-7806 or visit the Web site www.renaissancetileandbath.com.
Walking through a neighborhood of unassuming houses in Bethesda, Maryland, most passersby can’t help but stop to look at builder Soren Jensen’s newly renovated home. Its undulating elevation, lead-coated copper roof and distinctive stucco façade are sure to catch the eye—and that’s only the outside of this innovative home. Inside, soaring loft-like spaces and a modern material palette defy tradition and present exciting new design possibilities.
Careful planning and three years of construction—much of it done by Jensen himself—went into the project. Jensen and his wife Charlotte worked closely with architect Skip Maginniss to devise a plan that would in many ways evoke the architecture of the couple’s native Denmark. The ambitious design would tear the roof off the original single-story structure, add a second floor to the house accessed by a floating staircase, reinforce the existing foundation and upgrade the electrical and heating and cooling systems. As if this weren’t complicated enough, the couple decided to live in the residence throughout the entire process.
The Jensens purchased the home in 2000 with a renovation in mind. The 1,200-square-foot residence housed a number of small, dark rooms. They longed for a bigger kitchen, wide open space, more natural light and a better circulation plan. In achieving these goals, they aimed for something far less conventional than the typical pop-up addition. “I wanted something that had not been done before,” says Jensen. “I didn’t want this big, massive home. I wanted this little petit four, this little cake that was very rich in chocolate.”
Though the renovation more than doubled the home’s size, it nestles into its hilly surroundings without dwarfing its neighbors. “Whenever we do a renovation,” says Skip Maginniss, “we like to get immersed in the context of the project—the neighborhood, the landscape, the whole matrix of the community. The physical context of the land, with its curving streets, mature landscaping and rolling terrain, had a great impact on the design. The curved roof was influenced by the site and the rolling landscape.”
Another objective was to infuse the home with a European sensibility that the Jensens found was lacking in their former home. Maginniss and his clients tried to integrate elements reminiscent of Denmark into the program, from the style and color of the exterior stucco to the open floor plan, the use of natural materials and the sense of transparency and openness between indoor and outdoor living spaces.
During the design phase, Soren Jensen recalls, he noticed a small sketch of a curvilinear roof in the margin of architect Skip Maginniss’s conceptual drawings. “I said, ‘Skip, what’s that?’ And he said, ‘It’s going to be too expensive.’ I said ‘What are you thinking?’”
The two friends and long-time colleagues discussed the concept and weighed the pros and cons. Jensen recalls saying, “‘You know what, let’s do it because I think it is going to be a lot easier to button this thing up.’ Skip got excited about it then.”
The beauty of the roof concept is that the curvilinear form not only makes a strong design statement, but it is also a feat of engineering that enabled them to create a completely open interior unobstructed by beams or other supports. Tasked with supporting the weight of the lead-coated copper roof, Jensen and Maginniss devised a system using 14 custom-laminated arched beams to buttress the new second-floor walls. Additional arches would be inverted over the first-floor living area, curving the roofline “back into the landscape,” says Maginniss. Two-by-six-inch tongue-and-groove ceiling planks were installed perpendicular to the arches, tying them together. The yellow pine beams and planks were pre-fabricated by Unistructure, a company in Arkansas, and shipped to the site. Layers of rubber, plywood and foam between the wooden shell and the copper exterior roof provide superior insulation and longevity, says Jensen.
Because the wood was pre-fabricated, Jensen thought that this method of building the roof might be easier than other options. “I don’t know if I was proven right or wrong,” he says. “But I think the end result is what we were looking for—it’s really different.”
The design and construction of the floating staircase was another challenge. “We wanted to have an element there that was as transparent and ethereal as possible,” says Maginniss. “The stair was pretty complicated because it’s entirely cantilevered. It’s a study in very detailed design.” The finished product is comprised of a self-supporting stainless-steel frame with open Brazilian cherry stair treads.
Jensen constructed the staircase himself with help from a metal fabricator. He also made plywood templates of the glass panels that line the sides of the stairs and the overlook above—then had them replicated by a glass fabricator. “I made all these treads in our shop. There was a lot of care put into it. It was something I did myself on the weekends,” he says. Jensen also laid most of the new flooring and was “very hands on” throughout the process, only calling in his crews when absolutely necessary.
Though most of the interior walls were removed to make way for the open living spaces, Jensen did not tear down the original structure. While the foundation needed to be reinforced, they retained most of the exterior walls as well as some of the interior walls enclosing the original bedrooms on the main level (now used as a guest room and a TV room). They also preserved the original brick fireplace in the living room and extended it up to the second level using bricks salvaged from the exterior.
The new plan slightly expanded the original footprint of the home. The living room was bumped out, creating a larger, open space. The main entry to the home, which once opened into the living room, was re-positioned to the street side of the house near the kitchen.
An open den on the upper level leads to a rooftop terrace and overlooks the living area below. There is a master-bedroom suite and a nursery, now occupied by the Jensens’ daughter, born last November.
Throughout the entire renovation, Jensen and his wife lived in one of the original bedrooms and relied on a makeshift kitchen. When the second floor was done but the staircase was not complete, they climbed up on a ladder to sleep in their new bedroom. “For quite some time, all we had was a ladder going upstairs,” Jensen recalls. After the existing roof came down, “There were some nights when we had water coming in.”
“They’re hardy souls with a good sense of humor,” says Maginniss, describing the situation his clients endured.
Charlotte Jensen documented the entire process with photographs and is putting the finishing touches on a scrapbook that they can share someday with their daughter. Looking at the photos, Soren Jensen recalls, “I don’t remember it being that bad.”
Greg Hadley is a photographer based in Fairfax, Virginia.
The new iteration of the home doubled the size of the home
with the addition of a second floor. The concave roof and
convex porch canopies reflect the undulating hills of the
surrounding landscape.
Most of the interior walls were demolished to make way for
the open area that incorporates the living room and kitchen.
The interior of the roof is framed with curved wood beams
over structural wood decking.
The Jensens replaced the tiny galley kitchen in the original
house with a modern space ideal for cooking and entertaining,
and featuring Poggenpohl cabinetry and limestone cabinets.
Brazilian cherry flooring and stair treads make a smooth transition
from the main level to the loft-like upper floor.
The second floor includes the den, that doubles as a home office
for Charlotte Jensen, a Washington-DC based chiropractor.
The master bedroom.
The master bath, where Jensen and his team built a steam
shower out of glass.
The Jensens are planning a small addition on the rear of their
home that will encompass a glass-walled sitting room with a
roof terrace above.
In Washington, buying a former President’s home carries a certain cachet. But when Gregg Busch and Brook Rose purchased the 1916 Kalorama residence Warren Harding built four years before he moved into the White House, the presidential pedigree was only part of the attraction. Despite the Georgian-style home’s overgrown lawn and crumbling interiors, these two savvy businessmen recognized a diamond in the rough that they could restore to its former splendor.
“It was in scary shape. There was plaster completely coming down from the walls and ceiling. But I just remember walking in and feeling the proportions take my breath away,” recalls Rose.
“The fact that a lot of the original details had not been stripped out of the house” appealed to Busch, a mortgage banker. “And the fact that it was a President’s house put a lot of icing on the cake—about three layers!”
Busch and Rose were one of nine bidding parties on the house. They prevailed not only for their final offer but for the concessions they were willing to make, such as handling the removal of hundreds of boxes of water-logged books, papers and other “junk” the previous owners had piled up in every room. The wife had just passed away after living in the house for some 80 years.
After Busch and Rose closed on the home in 2004, they embarked on a year-and-a-half renovation that would include an exterior makeover, a new roof and gutter system to stop the water damage, major plaster and drywall repair, the installation of new electrical and heating/cooling systems and a total overhaul of the antiquated kitchen.
A developer who buys and renovates homes for a living, Rose spearheaded the undertaking in close collaboration with Busch. Their goal was to bring the home into the 21st century in a way that would respect its architectural history. “I did a lot of research. I had a very clear idea of what I wanted to do, which was to keep as much of the original layout and character as I could. I wanted the actual finishes, the color choices and the materials to feel like the period in which the house was built,” Rose says, “but update them to be modern and usable for today’s lifestyle. And simultaneously, I wanted it to be a little more glamorous than the typical Washington home.”
The couple turned to designer Anthony Wilder of Anthony Wilder Design/Build, Inc., to create a more welcoming approach to the house and spruce up the front yard, which consisted of a “big pile of dirt with overgrown evergreens and boxwoods, half of them missing,” according to Rose. Wilder designed a retaining wall out of antique bricks and added a new Belgian-stone driveway inlaid with mondo grass to better define the main entrance, which is on the side of the home. Historically accurate shutters and gas lamps salvaged in New Orleans complete the period look. (The project was featured last year on HGTV’s “Curb Appeal.”)
Upon entry, guests find themselves in a brick anteroom with French doors opening into the foyer, the living room and the dining room. Busch marvels at the grandeur of this space, “which feels so good, especially in spring when you can open all the doors and let in the breeze.” From the foyer, a grand staircase ascends to the second and third floors. Large landings on the upper levels lend a formal feel to the home beyond its public areas.
An initial challenge the owners faced was to repair the home’s crumbling plasterwork. “One of the great features of this house is that it does have this beautiful, elaborate plaster molding in the foyer, living room and dining room,” says Rose.
“Unfortunately, water had really damaged the plaster walls and the molding. There were gaping holes and chunks of plaster on the floors.” Rose called on the same plaster artist who restored Gianni Versace’s mansion in Miami to “surgically remove” moldings from other rooms in the house and, where necessary, remold and recast new sections to seamlessly fill in the missing areas.
Busch, Rose and their contractors went to great lengths to maintain historical accuracy and preserve as much of the original home as possible. An old postcard of the house they found in the Library of Congress helped them match new shutters to the originals. “Wherever I added a casing or a door, I completely replicated an existing door down to getting moldings re-cut,” says Rose.
Rose immersed himself in the selection of colors for the interiors. “I love neutrals and I think they can be very clean. But this is not a house of neutrals. Historic houses, to me, feel like you walk into every room and there should be a little surprise, a jewel, a ‘wow.’ Sometimes if you do that too boldly it will not tie together.
“I also went to Buenos Aires, where I got a lot of light fixtures. They have beautiful stuff that is also very reasonable,” Rose continues. “Argentina was one of the wealthiest countries in the world in the early half of the 1900s. People shipped in beautiful art and antiques from Europe and they’re still there, slowly being raided by people like me.”
In the living room, antique engravings and a French antique mirror hang over the original limestone fireplace. Pale celadon walls play off the sisal rug and neutral furnishings. The overall look is formal, not fussy. “There’s sparseness in both the amount furnishings and in the amount of pattern,” explains Rose. “I wanted it to flow so that when you walk from one part of the house to another, the rooms are all unified in some way.”
The dining room envelops guests in rich chocolate brown walls brightened by accents of gold. Champagne taffeta drapes by Curtain Exchange and a Niermann Weeks chandelier dress up the space. Busch and Rose entertain frequently, from impromptu parties with friends to a campaign fundraiser they hosted for Washington mayorial candidate Adrian Fenty in 2006 before, says Rose, the now-mayor was “all the rage.” They planned the butler’s pantry off the dining room accordingly, with its own sink, refrigerator, dishwasher and storage space to accommodate caterers and crowds.
They also transformed the “dark and dingy” kitchen where, Busch recalls, there was a linoleum floor, an old icebox, a single light fixture in the ceiling and little else. To bring more light into the kitchen and create a garden and deck in their yard, Rose and Busch wound up demolishing the adjacent garage. Now sunlight pours through the kitchen’s new windows and doors.
Designed with help from interior designer Lori Geiss, the kitchen and butler’s pantry evoke bygone days with vintage-style cabinetry and nickel fixtures and hardware. “If you look at the cabinetry and the choice of color and the subway-tile backsplash from Ann Sacks, the kitchen has an Old World feel to it. It has a similar look to what was here, especially the cabinetry,” says Rose. A coffered ceiling and a corner banquette create a homey atmosphere.
In contrast to the light and airy kitchen, a clubby atmosphere prevails in the second-floor library. “Some rooms have more clutter than others,” says Rose. “The library I wanted to be my warm, cluttered room.” A limestone fireplace, original wood paneling and a worn leather chair Busch and Rose picked up in an antiques store on the way to Rehoboth lend the room a cozy, lived-in feel.
They instilled a more modern look in the master bedroom, with its Barbara Barry bed and goatskin ottomans. The couple added a double-sided fireplace between the bedroom and the home’s original sleeping porch—a staple in Washington homes in the days before air conditioning. The porch is now a sitting room with its original bead board walls intact, the perfect spot for reading or an afternoon nap.
Rose calls the new master bath the home’s most “awe-inspiring” room with its intricate tile and marble work. By demolishing a former dressing room off the master bedroom, they were able to carve out enough space for a Waterworks tub, a luxurious shower and a separate WC.
In addition to the bedrooms Rose and Busch have converted into their own home offices, there are five guest bedrooms and almost as many guest baths, which makes hosting visitors a breeze. “The best part of having this big house,” says Rose, “is that the bedrooms are all ready. You can literally have a group of five of your friends stay here comfortably and they’re not in your space. I make a point that my family can come up any time.”
Hopefully, the couple’s friends and family have all had a chance to spend the night in President Harding’s former home. Because at press time, Rose and Busch were leaving the residence to make way for its next chapter in history. Though the house was not officially for sale, the government of Monaco made them an offer they could not refuse. Once the deal is done, Monaco’s newly appointed ambassador to Washington, Gilles Noghes, and his American wife, Ellen, will be moving in. Prince Albert quietly visited the home in November and decided to buy it on the spot—a testament not only to the architectural legacy of the house but to the work, dedication and talent that its most recent owners lavished upon it.
Brook Rose and Gregg Busch are now in the market for another home in Kalorama. But as Busch admits, “I don’t think we’ll ever find a home like this one again.”
Lydia Cutter is a photographer based in Arlington, Virginia.
Senator Warren Harding reportedly used the home's veranda
for delivering speeches during his bid for the White House.
Designer Anthony Wilder created a retaining wall out of antique
brick and better defined the approach to the main entry.
In the living room, a plaster artisan restored all of the original crown
molding. Brook Rose and Gregg Busch purchased the 1898 Steinway
piano that belonged to the home's previous owner, who spent 80 years
of her life in the historic residence.
Rich chocolate-brown walls and champagne taffeta drapes
by Curtain Exchange dress up the dining room.
The dining room opens to the butler's pantry, equipped with its own sink,
refrigerator, warming drawer and dishwasher.
Gregg Busch and Brook Rose.
A complete renovation opened the kitchen to a new garden and
outdoor living area.
All of the original paneling was preserved in the second-floor library.
The master bedroom adjoins the former sleeping porch, now converted
into a light-filled sitting room.
The luxurious new master bath was created by eliminating a small
dressing room.
“The big problem when we first came in,” recalls Therese Baron Gurney, “was it was such a large house, it was such a large space, how do we proportionally deal with the furniture and the furnishings?”
Gurney’s solution for bringing scale to the family room also led to a total overhaul of the foyer. Once that was done, Brett and her husband wanted more. With Gurney’s help, they embarked on a whole-house transformation that included the living room, the dining room, the kitchen, the master bedroom and bathroom, and the creation of a new sunroom.
By introducing a sense of scale, symmetry, and order, Gurney has achieved what many homeowners assume is impossible: going modern in a classic Colonial. Despite the home’s traditional façade, guests discover a sleek, modern foyer within. The original marble floor and standard wooden stair rail are gone, replaced by honed limestone floors and a custom stair-rail treatment of Gurney’s design made of stainless steel, sandblasted glass, and mahogany.
“I worked with scale and elements of modern architecture…but yet we used them in a way that I think is not cold or austere,” says Gurney of the foyer design. “Each of those groups of three columns works within a larger grid, so we created order where there wasn’t order. It’s interesting because it’s contrasted by this one continuous piece of mahogany, a handrail that meanders up and around. It kind of creates an interesting dynamic between the two.”
Metalworker Ed Stockman of Art Studio Iron spent months implementing the stair-rail design. “It was a very intricate, long, arduous process. He actually spent the night here one night,” recalls Gurney, who believes it was worth the effort. “To me, it’s really the most central, most important thing. It really changed the whole dynamic of the house.”
Gone are the fussy Corinthian columns in the foyer, replaced by weightier Doric columns that are more in scale with the soaring space. A wooden table by furniture maker Ted Boerner topped with limestone invites guests into the family room beyond.
Early on in the project, Gurney made another sweeping change, replacing the standard baseboards, moldings, and hardware throughout the house. “They were under the scale and weren’t in proportion to what the volumes we were working in really deserved,” she recalls. “The hardware was hollow and brass. The hinges were junky and painted. For me, changing out things that you normally don’t focus on changed the whole atmosphere and feeling of the house. They make it special and unique.”
Gurney zeroed in on a simple palette of colors and materials that would unify the interiors and create a sense of harmony from one room to the next. A consummate collector with a keen eye for modern design, Brett worked closely with Gurney on the selection of furnishings and art to complement her home’s new look. “Sue will be out and she’ll find something and she’ll call me and after her description, I’ll say, ‘Go ahead.’ I trust her completely,” says Gurney.
The family room required more custom work, again to tackle the proportions of the space. Gurney designed an oversized wall unit to house the TV and Brett’s collection of art glass. “It was such a large space,” says Gurney, “that any kind of furniture that was in there before looked dwarfed. So what I did was create an overscaled, large curio cabinet. It balances this very large vertical that was existing from the fireplace and grounds the room.”
Furnishings were selected for comfort and durability. The chairs swivel and the fabrics say Gurney, “are very forgiving for kids with greasy hands eating in chairs. And the sofa is curved because it accommodates a family of four and lots of friends.”
The family room opens to the kitchen and breakfast area. Kitchen designer Larry Rosen of Jack Rosen Custom Kitchens upgraded the space working closely with Gurney to select materials that would blend well with the rest of the house.
The next stage of the project focused on the design of a sunroom off the kitchen. Where there once was a basic deck, there is now an expanded, light-filled room where the family enjoys lounging and watching TV on comfortable new sofas and enjoying casual meals around a table of Gurney’s design.
Once the ground floor was complete, the designer and her clients turned to the master bedroom suite. An emergency-room physician, Shesser needed a tranquil place to decompress after long hours at the hospital. Though large, the existing master bath with its plain white cabinets didn’t quite satisfy the couple’s desire for a spa-like retreat, so they decided to renovate the bathroom before the bedroom. Gurney replaced the cabinets with custom, floor-to-ceiling millwork made of natural maple. An “implied grid” created by the cabinet seams establishes a sense of symmetry and order. The rest is a pure luxury: limestone floors, an air jet tub, an oversized shower with a wall of glass tile, a built-in TV and even a small beverage cooler. The natural materials and soothing color palette produce an immediate calming effect.
When she considers the work of today’s greatest designers, Gurney notes a single common denominator. “The whole thing comes down to the appropriateness of the mass to space it relates to, whether it’s a large space or a small space. It’s the challenge of design. It’s what I embrace. It’s why I love doing what I do.”
Interior Design: Thérèse Baron Gurney, ASID, Washington, DC; Renovation Contractor, Main house: Kandel Construction Group, Potomac, Maryland; Renovation Contractor, Sunroom: Four Seasons Design Build, Rockville, Maryland
Photographer Anice Hoachlander is a principal of Hoachlander Davis Photography in Washington, DC.
Chef Todd Gray, Ellen Kassoff-Gray and son Harrison
in the family room of their DC row house, designed by
architect Harry Wardman almost a century ago.
It is the day before Thanksgiving and chef Todd Gray and his wife, Ellen Kassoff-Gray, are planning a menu: grilled Rappahannock oysters with lemon butter, assorted cheeses and chilled champagne. This first course isn’t for Equinox, the popular DC restaurant they own together, but for the progressive Thanksgiving feast they share each year with their seven-year-old son, Harrison, and 30 friends and neighbors.
Today the house is buzzing with activity. A neighbor pops in to discuss Thanksgiving wine pairings, a delivery truck pulls up with rental chairs, and a photo shoot is underway. Kassoff-Gray is late for a meeting and can’t find her car keys. She has to be home in time to take Harrison to Cirque de Soleil while Todd heads for dinner service at Equinox.
Action-packed days are par for the course for the Grays, who have been called “Dining’s First Couple” in Washington. Focused on running the restaurant (Todd is the executive chef and Ellen the general manager), the Grays have made their home—a Wardman-designed row house in DC’s Crestwood neighborhood—warm, inviting and unpretentious. “Our goal at this stage, with a young child, is to have a comfortable house where I would not freak out if Harrison was running through the living room with a light saber,” says Kassoff-Gray.
When the Grays first saw the home in 2001, they knew that it was perfect for them. “Something drew Todd and me to this house,” recalls Kassoff-Gray. “We stood right here in the foyer and said, ‘This is it.’”
The Grays were only the third owners of the house since it was built almost a century ago. The bad news was that it needed major work. “It had hardly been touched in 35 years,” says Kassoff-Gray. “Every inch of the house needed something.” They repaired the plaster walls, the plumbing and the electrical system and created a new front entry. In the backyard, they added on a terraced patio and planted a garden that supplies Equinox with a seasonal bounty of fresh herbs.
Kassoff-Gray has created a warm, earthy atmosphere on the home’s main level. The foyer shows off Wardman’s original moldings and stair rail and leads to the living room and the former dining room, which the Grays converted into a family room with crimson-colored walls. It’s a better use of space since most of their home entertaining is casual and spur of the moment. “Our whole life is dining, so it’s a holiday to get away from it,” says Kassoff-Gray. “I’m more of a canapé and glasses of wine on the front porch kind of entertainer.” An eclectic mix blends antiques with funkier modern furnishings. Todd Gray’s parents are collectors who have given the couple a number of pieces, from the vitrine in their foyer to the dining table in their breakfast room. “My parents love detailed furniture and wood. I grew up having an appreciation for good molding and good furniture and the classic lines of a home, something that has a history and a story,” says Gray. “We have a little mix of ‘realness’ and those ideal pieces that represent tradition and family history.”
Paradoxically, the one room they haven’t had a chance to upgrade is the kitchen. But what their kitchen lacks in square footage and professional-grade appliances it makes up for in utility. Every knife, cookbook, food processor and spice jar has its place on the shelves and stainless-steel racks. It’s clearly a space that is used often, mostly by Kassoff-Gray. “I am the home chef,” she says, since her husband’s evenings are usually spent at Equinox. “When we eat [dinner] together as a family, we have to go see Dad.” She and Harrison often meet Gray at the restaurant for a meal before the main dinner rush, attend a game or a concert and then return to Equinox for dessert. “Harrison knows where the chocolate truffles are for the ride home,” she laughs.
The Grays are planning a kitchen upgrade at home after they complete a soft remodeling at Equinox by early spring. Aside from running the restaurant with a staff of 40, they are both involved in other ventures. Todd Gray is the executive chef of billionaire businesswoman Sheila Johnson’s Salamander Hospitality. The company is developing the Salamander Inn & Spa in Middleburg, Virginia, and currently runs the gourmet emporium Market Salamander, with locations in Middleburg and Palm Beach, Florida. Gray is now working on the launch of a third Market Salamander in DC, hopefully located in close proximity to Equinox.
Kassoff-Gray volunteers for Harrison’s school and other organizations around town. She is busy planning the fifth annual Sugar & Champagne, a fundraiser she created to support the Washington Humane Society. The affair features 15 of the city’s top pastry chefs serving their creations along with sparkling wines. (This year’s event will be held on January 23 at DC’s new Hotel Palomar; dogs are welcome).
On the occasion that he is home for dinner, chef Gray cooks family fare, perhaps a Sunday-night risotto or lamp chops grilled out back with Harrison. “Harrison enjoys the spirit that cooking at home brings to a family,” says Todd. “Some of the best conversations happen over family and food.”
Photographer Bob Narod is based in Sterling, Virginia.
In the hallway leading to the basement space, Andre Sabbagh created a new cove ceiling covered in Venetian plaster.
It all started when a light fixture over a Rockville couple’s pool table broke. They asked their friend, interior designer Andre Sabbagh, for advice on whether to fix it or buy a new one. This launched a discussion about what they thought the lower level of their home should ultimately look like. Sabbagh had some exciting ideas. So exciting, in fact, that the homeowners decided to embark on a full-scale renovation that would create a one-of-a-kind billiard room, wine cellar and plush new home theater.
In the original space, stairs led down to the basement and into a stark hallway with an existing wine room on the left and a spare room on the right. The hall culminated at a bar overlooking the billiard room. The décor consisted of white walls and dull wall-to-wall carpeting.
Sabbagh’s goal was to create a refined, personalized space that would reflect his clients’ style. “This is a home, not a pub,” he explains. “We wanted to make it elegant. The intention was to give it the coziness of an Old World feel combined with the quality of today’s finishes.”
The wife, whose father and grandfather were both winemakers, asked Sabbagh to integrate two large wine barrels made by her father into the design. So he designed custom cabinetry that encompasses the barrels as well as additional wine storage. Then he created a cozy seating area in front of the cabinetry where the homeowners and their guests can enjoy a bottle of wine or play a game of cards.
Throughout the new space, Sabbagh incorporated rich, textural materials, such as custom wall panels made of tooled leather and cork floors that evoke the interior of an old wine cellar. Decorative painting by Christine N. Barnette creates an antique, rustic effect.
In the billiard room, Sabbagh designed a freestanding bar along one wall. Below it, a mural of wine barrels by Barnette reinforces the theme. During a game of pool, guests can rest drinks and snacks on the bars or on the two round granite stands hung on cast-iron bases that Sabbagh designed in opposite corners of the room.
Other than a custom-designed mirror, Sabbagh resisted the urge to hang other objects on the billiard room walls. “I wanted to make the space itself a focal point and the architectural element, of course, is the pool table. Each print, painting or mirror would overtake this dominant element in the room,” he explains.
One of the designer’s greatest challenges was configuring the home theater, a small space with three different entrances. To conserve space, he selected theater seating by Motion Craft Furniture that reclines in place. Top-grain leather upholstery and dramatic lighting effects create a luxurious cinema experience. Meanwhile, the home theater system installed by Graffiti Audio Video features all of the latest bells and whistles: a remote that controls all A/V equipment, the lighting and the retractable screen; surround-sound; and a platform motion shaker that kicks in during action scenes.
The homeowners are delighted with their home’s new lower level. Says Sabbagh, “The elements pull from the past and present. The beauty of the space is that it’s so personal. When friends or family come over, they have a story to tell.”
Photographer Bob Narod is based in Sterling, Virginia.
Interior Design: Andre Sabbagh, TAS Interiors, Falls Church, Virginia Home Theater Installation: Graffiti Audio Video, Washington, DC Decorative Painting: Christine N. Barnette, Christine Nicole Productions, Glen Burnie, Maryland Cabinetry: Shlomo Assaraf, As It Should Be, Kensington, Maryland
The Washington Design Center, in partnership with Metropolitan Home, presented its annual Fall 2006 Design House. Titled “Modern with a Capital M,” the eight-room display was the culmination of the efforts of eight area design teams who were unleashed in The Design Center’s luxury showrooms with a mission: to refurbish their spaces according to their own interpretations of what “Modern” means today. The results, in case you missed it, were sublime.
Foyer
KUBE Architecture Washington, DC
The designers at Kube Architecture, in partnership with ITA Design and DMI Development Group, transformed the Design House entrance into an inviting series of folding planes. Flooring folded up to become seating, walls folded over to become ceilings and furniture materials folded down to serve as thresholds. The use of natural and eco-friendly materials—including polished black sea pebbles, recycled rubber flooring and bamboo—reflected the forward-thinking tenets of sustainable design.
Media Room by Gensler Architects
Media Room
Jordan Goldstein, AIA, and Jill Colletta Goebel
Gensler Architects Washington, DC
Rather than hiding technology away, Jordan Goldstein and Jill Colletta Goebel let it take center stage in their Japanese-inspired media room. Sony LCD flat panels were elevated to artwork on the walls and ceiling. A sunken lounge area invited visitors to relax and unwind, whether to watch the latest DVD release or simply enjoy each other’s company. Myriad seating options on the plush leather “floor” and the cushions sheathed in soft brown Maharam fabric let guests assume optimal viewing positions, even for watching TV on the ceiling. Why not?
Kitchen & Pantry by ColePrevost, Inc.
Kitchen & Pantry
Robert Cole, RIBA, and Sophie Prévost, ASID, IIDA
ColePrévost, Inc. Washington, DC
Debunking the notion that kitchens should be dark and serious, Robert Cole and Sophie Prévost lightened theirs up considerably with a crisp turquoise-and-white color palette. Their custom-designed dining/prep table would make a handsome and practical anchor in any kitchen. The herb garden, nurtured by special plant lights, lent an aromatic touch. Sleek Jenn-Air appliances and stainless-steel accents provided a high-tech contrast to Wood-Mode’s recycled-wood cabinetry. Unfurled rolls of fork-and-knife wallpaper by Tracy Kendall made a playful statement in the cozy seating area.
Living Room by Barry Dixon
Living Room
Barry Dixon
Barry Dixon Inc. Warrenton, VA
Barry Dixon is a master at mixing periods, styles and continents with panache. This living room was a case in point, where Dixon juxtaposed traditional architectural details with more contemporary pieces, many of his own design for the Barry Dixon Collection, available through J. Lambeth. Dixon’s Robertson bench took on a glamorous look, upholstered in a Watts of Westminster chenille
Bathroom by Division1 Architects
Bathroom
Division1 Architects
Silver Spring, MD
Show houses are meant to be forums where designers put forth ideas and working concepts. Division1 designers took the “modern” mandate to heart in their creation of a bathroom prototype. Clad in steel walls with a glass partition and dark-stained wooden bench, this was meant to be a sculptural “place to cleanse.” The sink was designed to channel clean water into the tub, creating the soothing sound of flowing water whether or not the bathtub was being used. A gutter in the tub would handle the overflow. Says principal Ali Honarkar, “Whether it’s practical or not, you always have to dream large.”
Dining Room by Patrick Sutton
Dining Room
Patrick Sutton
Patrick Sutton Associates Baltimore, MD
Inspired by recent travels, Patrick Sutton decided to emulate the elegance and simplicity he experienced in the dining rooms of both L’Ambroisie restaurant in Paris and in a rustic 16th-century guesthouse in Tuscany. “I found the austere beauty of both dining rooms at once ancient and modern,” Sutton recalls. He adopted the sparing touch, combining antiques, a rustic stone floor, a wrought-iron chandelier, a modern painting and simple fabrics in an uncluttered way that embodies elegance and warmth.
Wine Library by Darryl Carter
Wine Library
Darryl Carter
Darryl Carter Inc. Washington, DC
A wine cellar need not be relegated to a “cave” in the basement, as Darryl Carter so stylishly proved in his wine library. He achieved a modern sensibility by selecting Wood-Mode cabinetry in Nordic White and hanging a pendant of his own design (for The Urban Electric Company) over a pair of demilune tables from The Rist Corporation. White leather wingchairs with nail-head trim from the Darryl Carter Home Collection provided comfortable seating, perfect for the simultaneous enjoyment of a good Cabernet and a favorite book.
Master Bedroom by Raji Radakrishnan
Master Bedroom
Raji Radakrishnan
Raji RM & Associates Brambleton, VA
Raji Radakrishnan created this bedroom for a modern couple: he is a classicist while she loves modern design, especially the Art Deco period and the 1940s. The shell of the room reflects classical design in homage to Sir John Soane, with a Neoclassical mural and aged stone walls. The furnishings, however, are mainly from the 20th century, from Art Deco to contemporary pieces like the Arca bed and nightstands from Poliform/Sagart Studio and the metal tables with leather insets from Century. A modern mix indeed.
Americans spent about $13.5 billion on kitchen renovations in 2006.The good news is that, according to the National Association of the Remodeling Industry, homeowners recoup at least 84 percent of the cost of a kitchen renovation in resale value. This makes embarking on a kitchen project a win-win situation: You get to enjoy your spruced-up cooking and dining space and it makes sound financial sense.
The kitchens we spotlight on the following pages are all upgrades of spaces that had lost their luster. Their appliances were outdated, their finishes mundane. More importantly, they were not conducive to the traffic patterns of 21st-century kitchens, which have become centers for entertaining, relaxing and multi-media multi-tasking.
The designers and architects whose projects we feature in this issue have done their homework, devising floor plans that meet their clients’ needs and wisely selecting appliances, fixtures and finishes from the dizzying array of materials on the market today. As you’ll see, these kitchens almost look too good to eat in.
European Country Kitchen
Kitchen Design: J. Paul Lobkovich, Lobkovich, Inc., Tysons Corner, Virginia
Interior Design: Beth Kittrell, Kittrell Interiors, Fulton, Maryland
Photography: Lydia Cutter, Arlington, Virginia
J. Paul Lobkovich worked closely with interior designer Beth Kittrell to ensure that this kitchen renovation would complement the interiors of their client’s grand, rustic home in Great Falls, Virginia. The original kitchen was too long and narrow, so he took space from an adjacent closet to widen it. Because he felt that a single large island would have been too long for the available space, he proposed the creation of two square islands instead. Not only did two islands better fit into the kitchen, but they would also provide extra functionality, since each one could be used on all four sides. One of the islands features a table-level microwave drawer by Sharp that allows users to check on warming food without having to reach overhead. Appliances include two dishwashers positioned on either side of a farmhouse sink, a built-in Miele coffee system and a Wolf range.
Design inspiration came from the hand-painted fireplace mantel Kittrell created in the adjacent breakfast room. Lobkovich designed the kitchen hood in wood and stucco, and Kittrell had it painted with the same motif. Iron chandeliers by Currey & Co., antique beams in the ceiling and hand-planed plank floors create a rustic, Old World feel.
Ahead of the Curve
Kitchen Design: Jennifer Gilmer, CKD,
Jennifer Gilmer Kitchen & Bath, Ltd., Chevy Chase, Maryland
Interior Design: Maureen Daly, Bethesda, Maryland
Photography: Bob Narod, Sterling, Virginia
The toughest challenge facing the design team in this kitchen renovation was undoing an unfortunate 1980s addition. The addition, which had a different ceiling height than the main space, formed an L shape with the original kitchen. “Trying to integrate these two spaces was a key to getting the kitchen right,” says Gilmer. “This L-shaped space was very broken up and disjointed from floor to ceiling. It took many, many meetings working on preliminary ideas to get the design to where it ended up.”
Jennifer Gilmer and interior designer Maureen Daly collaborated on integrating these two rooms into a more open and unified kitchen. Because space was limited, they came up with the idea of creating a cozy banquette instead of using stand-alone furnishings that would require more room.
To preserve adequate counter space near the banquette, Gilmer decided to trade in straight lines for curves. “Getting the booth to work with the counter was a struggle. When I drew an ‘S’ shape, everyone seemed to let out a sigh of relief followed by an ‘ooh’ and an ‘aah,’” she recalls. The unit houses a curved prep sink byFranke and storage below the Jerusalem stone countertops. In the cabinets with curved glass doors overhead, the homeowners display their collection of decorative glass. In a mix of traditional and contemporary styles, the designers juxtaposed darker matte-brown stained maple cabinetry around the perimeter of the kitchen with quarter-sawn glossy sycamore, a more contemporary look, in the curved area.
The refrigerator was placed in a centrally located spot on the opposite wall. “We ended up putting it pretty much in the middle of the kitchen between the prep and clean-up sink,” says Gilmer. “Here, it’s very accessible.”
The hood and cooktop called for something dramatic. Daly proposed a single slab of marble with blue colorations providing a textural contrast to the sleek cabinets and stainless-steel hood. “The piece of marble was just the thing to set this off, a one-of-a-kind piece that gives it the ‘wow’ effect,” says Gilmer.
Sleek Italian Style
Architecture: Patrick Camus, Robert Bentley Adams & Associates, Alexandria, Virginia
Cabinetry & Appliances: Studio Snaidero, Washington, DC
Photography: Peter VanderPoel, Arlington, Virginia
There’s no rule that a kitchen must be traditional just because it’s located in a very traditional house. That was the sentiment shared by architect Patrick Camus and his client when they set out to upgrade the kitchen of this 1830s Federal-style residence in Georgetown. “It was a drive to reflect the technology of today rather than the philosophy of the entire house,” says Camus.
The layout of the historic home posed a number of design challenges. The kitchen was built on the basement level of the house, partially below ground, which was the norm more than a century ago. As a result, the space receives limited natural light, and has a ceiling height of only seven feet. Camus’s plan was to make the most of these shortcomings while creating a cutting-edge, modern kitchen for his client.
Glass panels in the ceiling and high-gloss cabinets fill this
kitchen by Paul Camus and Studio Snaidero with light.
Though the homeowner requested a black-and-white scheme, Camus sought innovative materials and finishes that would bring color and light into the room. They selected high-gloss white lacquered cabinetry designed by Ferrari stylist Paolo Pininfarina for Studio Snaidero featuring curved fronts painted in a contrasting steel finish. “They’re painted with the same finish they use on Ferraris,” says Camus.
Glass panels in the ceiling and high-gloss cabinets fill this kitchen by Paul Camus and Studio Snaidero with light. Photo by Peter Vander-Poel
The homeowner was skeptical about including a large island in the plan, concerned it would feel too heavy in the space. So Camus designed an alternative composed of a glass bar-height tabletop, a black granite countertop and a stainless-steel base. Doubling as a breakfast bar and a prep space, his creation is sculptural and light.
An innovative lighting plan—combining recessed incandescent lighting, under-the-counter lighting and fiber-optic lights that change color according to the owner’s mood—was essential in the basement space. Camus also hung curvy glass elements from the ceiling to create the illusion that the ceiling is higher than it is. “The eye focuses on the composition—not the low ceiling,” he says.
He worked closely with designers at Studio Snaidero to select materials, such as the black Bisazza glass tile backsplash, the polished slate floors and the glossy cabinetry, that would reflect the colorful lights. “Black-and-white kitchens really can be quite dull. But this doesn’t look like a black-and-white kitchen,” says Camus. “This house deserves more than just the norm.”
Form Meets Function
Kitchen Design: Nadia N. Subaran, Aidan Design, Bethesda, Maryland
Interior Design: Jerry Copeland, Washington, DC
Photography: Robert Radifera, Aidan Design, Bethesda, Maryland
The galley kitchen takes center stage in this Federal-style Bethesda home, where it is visible from a sunken family room below. The problem was that the home’s outdated appliances and cabinetry weren’t much to look at, so the owners approached Nadia Subaran to give it a facelift and introducemore efficient and functional appliances and cabinetry.
“The clients were happy with the original layout of the galley kitchen,” says Subaran. “They liked the proximity of the appliances to one another, but wanted to upgrade to bigger and better in a space where everything was a tight squeeze.” The clients are working professionals who entertain frequently and have three teenagers, so functionality was key.
Before Subaran started the project, the homeowners had already selected a slate floor with metal inserts. She used the flooring as an inspiration and starting point in choosing many of the finishes. “We wanted a space that was warm with sleek stainless appliances and finishes that were classic yet had depth or texture,” she explains. The countertops are a cleft Pietra Cardosa, a stone that has a smooth yet uneven feel to the touch and dramatic veining. The glass mosaic-tile backsplash, the cast-aluminum hardware and the beaded glass pendant shade were also chosen because of their subtle irregularity. “They help to give dimension to an otherwise long and narrow space,” she says.
A Modern Counterpoint
Architecture: Michael Gallin, Gallin Design Studio, Tarrytown, New York
Cabinet Design: Fred Grenfell, Kitchen & Bath Studios, Inc., Chevy Chase, Maryland
Photography: Bob Narod, Sterling, Virginia
The original, 1980s-era kitchen in this Potomac, Maryland, home was broken into three small spaces: the kitchen, a sitting room and a mud room. When architect Michael Gallin set out to design a renovation his first move was to incorporate them into one large room. New French doors (not pictured) opened up the kitchen to its wooded surroundings; a new cathedral ceiling reinforced the light and airy effect. A cut-out opens to the foyer so that the homeowners can monitor activity at the front door.
Gallin worked with kitchen designer Fred Grenfell to select clean-lined, contemporary cabinets and materials that wouldreflect the client’s modern aesthetic while avoiding a cold or sterile look. They chose custom cabinets in anigre, a light, natural-looking wood with distinctive graining. A wall of cabinets and drawers provides copious storage; the upper cabinets are wrapped in stainless steel with glass doors.
Stainless-steel backsplash tile reflects light in the space and, says Gallin, “gives the wall a bit of an abstract texture. I like the uniformity.” Stainless-steel hardware by Häfele completes the modern look on the flat-panel cabinet doors.
A large center island incorporates a cooktop with a down-draft telescoping exhaust vent, a prep sink and additional storage. The black granite countertop cantilevers over two separate sections of the island, creating a light, almost table-like effect. The homeowners store a footstool in the recess, which also makes a fun play space for small children. A pantry with roll-out shelves to the right of the refriger-ator provides convenient storage. Cooking appliances—a microwave, oven and warming drawer, also in stainless steel—are stacked in a “column” for a clean look.
Nostalgia With a Modern Twist
Kitchen Renovation and Interior Design: Bruce Wentworth, AIA, Wentworth Studio, Chevy Chase, Maryland
Photography: Ron Blunt, Martinsburg, West Virginia
When a client moved from a duplex in the Watergate to a smaller apartment on an upper floor, she called on architect Bruce Wentworth to renovate its outdated, 1960s-era kitchen. A long narrow hall led from the foyer into the cramped kitchen. The client sought an upgrade that would allow her to fit a table into the space and incorporate top-of-the line finishes and appliances on par with those in her former kitchen, which Wentworth designed in the 1990s.
A narrow space became a butler's pantry for storage.
Careful space planning enabled Wentworth to expand the kitchen by converting the hall into a long butler’s pantry lined with 12-inch-deep cabinets. To admit natural light from the adjacent dining room, he created a 48-inch opening in the wall finished with custom-forged ironwork by Cardine Studios. To economize on space, Wentworth proposed a 27-inch-wide Sub-Zero refrigerator plus under-the-counter refrigerator and freezer drawers. Streamlining the appliances enabled him to fit in a small table with a bullet-shaped top.
In a nod to nostalgia, the client chose buttery-yellow cabinets with seeded-glass doors, which conjure up memories of her childhood kitchen. Wentworth balanced traditional touches with modern elements, such as the glass Miele hood that shows off the single-slab granite backsplash and the hanging pendant over the table.
Old World, Renaissance Style
Lois Kennedy, CKD, Portfolio Kitchens, Vienna, Virginia
Photography: Lydia Cutter, Arlington, Virginia
The kitchen was the ugly duckling in an otherwise elegant, estate-quality home when the owners approached kitchen designer Lois Kennedy and requested a total makeover. “It’s a beautiful home that demanded something more stately and functional,” said Kennedy, who described the existing kitchen as “dark and dreary.”
The wife is a serious cook; she and her husband entertain frequently. Her cramped kitchen hardly fit the bill, with outdated appliances and minimal storage; for lack of a better place, the owners kept five five-gallon water-cooler dispensers right in the middle of the kitchen floor.
When Kennedy took on the project, her client’s wish list was extensive. Besides more storage, she wanted better workflow, professional-grade appliances and, above all, a kitchen that was “spectacular and like nobody else’s kitchen, anywhere,” Kennedy recalled.
The designer devised a plan that would carve out more space for the kitchen, establish a highly functional work environment and create one-of-a-kind features and finishes in a singular, Old World style. By demolishing the wall that separated the kitchen from three small utility rooms, Kennedy enlarged the kitchen substantially; she also created a second window to admit more natural light. Kennedy proposed a center island with a Wolf range located near the large refrigerator and freezer units; this arrangement would create a functional triangle where the cook could efficiently move from food storage to sink to cooktop.
To maximize efficiency and avoid her clients “running in circles around the island,” Kennedy designed a coffee bar/breakfast area that operates independently from the rest of the kitchen, with its own U-Line refrigerated drawers, Miele dishwasher and built-in Küppersbusch coffee machine.
An unusual material palette evolved as Kennedy suggested some novel ideas to meet her client’s needs—especially on the cabinet doors and backsplash. “The style she wanted really demanded some sparkle, but she didn’t want cabinet doors that you could see through.” Kennedy’s solution was to appliqué stained leaded glass on a mirrored surface for both the cabinet doors and the backsplash; Tourne Shipman of Stained Glass Overlay implemented her design. The hidden mirrors not only serve to hide the cabinet’s contents and the drywall behind the backsplash, but they also create a soft glow in the kitchen. More custom work was lavished on the ceiling, with a cove around the perimeter of the space and coffers in the center. Gilded paint finishes by Marilyn Most of Mostly Faux create an elegant effect.
Clever storage solutions abound. There’s even a window seat with roll-out shelves specially designed to bear the load of the owners’ spare water-dispenser bottles, which no longer occupy the middle of the kitchen floor.
There are times when an interior designer needs to play the role of disappearing artist. That was the case when Nestor Santa-Cruz overhauled his clients' 1910 Adams Morgan row house.
Full of historic charm, the home nevertheless presented a mixed architectural heritage. Original English oak paneling clads the entry vestibule and dining room in Arts and Crafts style. Imposing neoclassical columns flank the vestibule. And the adjacent living room boasts ornate moldings evoking a more formal Adams-style motif. "It was custom-designed for somebody," says Santa-Cruz. He knew he needed to tone down these disparate styles in order to make the housework for his clients.
Light streams into the vestibule of the 1910 row house.
A William Morris wall covering in a pattern of tiny leaves is
a subtle nod to the Arts & Crafts style.
He had actually just finished a home for the couple in the very same neighborhood. They were perfectly content—until this larger home a few blocks away went on the market. Unable to resist its location on a quieter street or its enviable two-car garage, they bought it on the spot and then asked Santa-Cruz to make it theirs.
"It looked like it had not been touched for a long time," he says. "The plan was to bring what they had done in the previous house. But having more rooms and a larger entrance, we also knew we had to get some new furniture, rugs, lighting, and accessories."
As one of the homeowners recalls, "The house was in pretty good condition but, cosmetically, it wasn't our taste. We had worked with Nestor before on the other house and he's just a phenomenal change artist. The previous owners had played up the Victorian-ness of it. We wanted to kind of tone it down a little bit."
Santa Cruz's challenge was to counterbalance the home's stylistic dichotomies and create a serene look that would masterfully blend his clients' antiques and family heirlooms with mid-century modern furniture and art. "We knew the house would have a sense of tradition," he explains, "but it would be a modern house."
He also knew the existing peach color scheme, the faux-marble treatment on the vestibule columns and the overabundance of ceiling fans had to go. But his clients intervened when he proposed that they paint the vestibule paneling, convincing him that it would be a mistake to interfere with the original oak millwork.
So Santa-Cruz just cleaned up the paneling and refinished the fireplaces and moldings, toning down their busy colors so that they became architectural elements. "We took a much more uniform approach," he explains. He painted the walls in soft, muted grays.
In a nod to the vestibule's Arts and Crafts style, he and his clients chose a William Morris wallcovering from J. Lambeth; its tiny leaf motif in green and beige blends well with the oak paneling. Santa-Cruz had the French parquet floors restored to their natural honey tone and selected Oriental rugs from Timothy Paul in soft shades that would complement his color scheme. "The rugs created a grounded element on which all the furniture could float in the space," he says.
In his quest to replace lighting throughout the house, Santa-Cruz s
elected the early 20th-century Fortuny silk chandelier as another
reference to the Arts & Crafts period.
To retain the formal ambiance in the living room, Santa-Cruz let his clients' grand piano take center stage and also played up their French 18th-century chairs, which he upholstered in a pale linen fabric. Art, accessories and a Venini Murano glass chandelier add a modern sensibility. "It's a marriage of old and new, traditional and modern," says Santa-Cruz. "There's a lot of play with dark and light, color and no color. It's always about visual comfort and physical comfort."
Santa-Cruz refinished the living room's ornate fireplace surround
and moldings, transforming them into clean, architectural elements.
"At the end of the day," says Santa-Cruz, "it's a Washington home. There's so much construction in Washington that wants to be New York or a pastiche of the past. This house can deal with tradition in a Washington sense, or it can be the Washington of tomorrow."
In the dining room, another original fireplace—one of seven in the house—creates a cozy backdrop for intimate gatherings. Klismos-style chairs by John Saladino surround the rosewood table by Keith Fritz. The early 20th-century Fortuny chandelier is another bow to the Arts and Crafts movement.
In the dining room, a fireplace creates a warm backdrop for
intimate dinner parties; the abstract painting above it lends
a modern touch.
Says the homeowner, "One of the things I've most learned from Nestor is lamps and lighting and how important they are in making a statement." She points out the bold Yamaguchi chandelier in the adjacent den to make her point. This former dining room, which leads to the kitchen, is now a casual hangout for the homeowners, where they can enjoy a quick meal or unwind over a book or TV show after work.
Santa-Cruz spruced up the main floor of the house in less than two months. He says he and his clients liked the "immediate gratification" of buying floor samples and making discoveries in antique stores like Sixteen Fifty-Nine and Gore Dean. They also collaborated on buying mid-century modern art to help reinforce the contemporary look. "Because they were making such an investment throughout the house, to get art quickly, we collected anonymous abstract pieces from the '50s, '60s, and '70s," says Santa-Cruz. "Art is a very personal thing. It's about liking a piece of art and not about provenance or quality if you like the quality of the design. We got into a very harmonious interplay."
With the main floor completed, the owners have set their sights on creating a new master-bedroom suite on the second floor. In the meantime, their third-floor bedroom is nicely furnished with a reproduction four-poster bed and Santa-Cruz's signature mix of modern and traditional accouterments. He especially likes the way the small modern bedside table plays off the large New England-style bed. An antique Turkish throw is juxtaposed with a Pucci bud vase. The contrasts and references go on and on.
A velvet panel hung behind the four-poster bed creates a
"cocoon feeling" in the master bedroom.
Santa-Cruz has said that he learns something from every project. In this home, he reflects, the lesson was "not to hate English oak paneling. I wanted to paint it and one of the owners said, ‘Absolutely not.' I learned that sometimes my first instinct is not necessarily the right one. Sometimes, the status quo is not a bad thing."
Photographer Erik Johnson is based in Alexandria, Virginia.
Interior Design: Nestor Santa-Cruz, IIDA, SKB Architecture and Design, Washington, DC
An Oriental-style rug from Timothy Paul "creates a grounded
element on which all the furniture could float in the space,"
says the designer.
In the den, Santa-Cruz combined a Moroccan-inspired rug
with a down-filled sofa in the baby-blue fabric.
