Built in 1824, 24 Middagh Street is a charming, wood-frame, Federal house in Brooklyn Heights that has the distinction of being the oldest home in the neighborhood. And it’s just gotten a price chop to $6,650,000 (it first listed this past September for the first time in nearly 60 years, asking $7 million). The listing says most of the original interior details–like wood floors, fireplaces, and moldings–are intact, and the five-bedroom residence even comes with a landscaped backyard and separate, two-bedroom carriage house.
According to architectural historian Charles Lockwood in his classic book “Bricks and Brownstones,” 24 Middagh Street, formerly known as the Eugene Boisselet house, is “notable for its front doorway with its ‘delicately leaded toplight and sidelights and elegantly carved ornaments’ as well as its rear carriage house and charming garden.” He also makes note of its two dormer windows and two lunette windows on the side. Though other homes on the street date back to the 1820s, too, number 24 is the only one that remains unaltered from its original state, says the AIA, who also refer to the home as “the queen of Brooklyn Heights houses.” Plus, it’s one of the best surviving examples of a wood-framed house in NYC; they were prohibited in Brooklyn Heights in 1852.
Here you can see the carriage house, currently configured as a two-bedroom guest house. The current owners, Celeste Weisman and her brother Jared (their parents bought the home in 1958, and they grew up there) have been renting this property out. They told the Times in September that they’ve decided to sell since their mother passed away last year, and they both live in San Francisco.
Inside the main house are five fireplaces with wooden mantels, wide-plank floorboards, and ornate moldings. The listing broker does note that it’ll need upgraded electric and central air conditioning.
Built in 1824, 24 Middagh Street is a charming, wood-frame, Federal house in Brooklyn Heights that has the distinction of being ...
Cycling culture in New York City has been a growing trend for over 20 years. However, its popularity and the bike lanes of modern day New York have yet to reach the impressive status of Coney Island’s 1920s bicycle racing Velodrome. The Velodrome was a wooden racetrack that seated approximately 10,000 people, each of whom came to cheer or jeer the area’s best cyclists.
The venue was located on 12th Street and Neptune Avenue, and at the time hosted a variety of events including bike racing, boxing, and outboard midgets (a small racing car of yesteryear). In the 1920s, cycling was a popular sport, and the Velodrome was home to all of the regional and state championships.
However, as time rolled on and the Great Depression touched almost every aspect of life, the cycling industry started to suffer. But it wasn’t until August 3, 1930, when the original Velodrome saw its final day, ending in ashes following a fire.
Fortunately for New York’s bike enthusiasts, the ‘drome was resurrected and rebuilt a second time. It continued to host cycling and sporting events until it was eventually torn down in 1950 to make way for a residential building.
Cycling culture in New York City has been a growing trend for over 20 years. However, its popularity and the bike lanes ...
In 2004, New York-based developer and builder Frank Sciame paid $6 million for the 3.4-acre waterfront Connecticut estate of the late Katharine Hepburn. In late 2015, he also dropped $290,000 at auction for the Old Saybrook Breakwater Lighthouse, which is within walking distance to the estate. The 131-year-old lighthouse was built in 1886 to mark a sand bar on the west side of the Connecticut River, but it will soon see a new life as a giant children’s playroom. The Post reports that Sciame asked yacht-design architects Persak & Wurmfeld to redesign the structure as a clubhouse for his grandkids, complete with the original cast-iron windows and portholes, watch room and lantern room, and upper wrap-around deck.
After buying the estate, Sciame divided the site, which includes 680 feet of private Long Island Sound beachfront, into three parcels. The main house at 10 Mohegan Drive, known as the Hepburn estate, is a renovated six-bedroom home built in 1939. It was last on the market for $14.8 million and is expected to return this spring.
6 Mohegan Drive via William Pitt Sotheby’s International Realty
The second parcel, 6 Mohegan Drive, is a three-bedroom home built in 2015. It’s currently on the market for $6.88 million and could be used as a guest cottage for the estate. Owners of both properties can buy memberships to the Fenwick community golf course and tennis courts.
Rendering via Persak & Wurmfeld for Sciame Construction
The third parcel is a vacant lot that Sciame doesn’t plan to sell, though he doesn’t sound as though he plans to erect another residence here. “I’ve decided to spend more time with my family using our boat, and the lighthouse is the perfect way to keep a connection to Fenwick after we’ve sold the Hepburn house.” To that end, the Post details what’s in the works for the lighthouse:
Plans call for a first-floor entrance foyer with storage, a second-floor master cabin, a kids’ cabin with bunk beds on the third floor, and a fourth-floor “salon” — a living room area with a sofa, end tables and a coffee table — and a galley kitchen. The fifth floor will feature a bar and an outdoor deck with a wraparound balcony that boasts a 360-degree view of the Long Island Sound and Connecticut River.
Sciame feels confident in terms of safety, noting that the lighthouse withstood both hurricanes Sandy and Irene. It’s listed on the National Register for Historic Places and is featured on some specialty state license plates. Those concerned with whether or not Sciame will retain its historic integrity should take comfort in the fact that he’s a former chairman of the South Street Seaport Museum and the New York Landmarks Conservancy and he’s worked on historic restoration projects, including that of the Guggenheim Museum’s exterior.
When he and an anonymous partner bought the lighthouse, the the US General Services Administration didn’t sell the land submerged in the water beneath it. They’re currently leasing this for $23,500 for 30 years with the option to renew after that time. It’s not yet clear if he’s received the necessary permits and approvals to move forward with the conversion.
In 2004, New York-based developer and builder Frank Sciame paid $6 million for the 3.4-acre waterfront Connecticut estate of the ...
Rush hour traffic is as predictable as the sun setting at night for New Yorkers, but drivers might be shocked to find out how many hours tick away while they’re stuck behind the wheel. On average, New York City drivers spend 89 hours a year in traffic, making it the third most congested city in the world, according to a recent global traffic study by INRIX. Los Angeles earned bragging rights as the most congested city on the planet, with drivers spending an average of 104 hours a year in traffic. Coming in at number two was Moscow, with 91 hours spent in traffic annually.
Rush hour traffic is as predictable as the sun setting at night for New Yorkers, but drivers might be shocked ...
The Driverless Future Challenge seeks proposals that actively shape the city’s response to driverless cars. [Blank Space]
Gwyneth Paltrow is opening her second 3 Green Hearts cafe in Midtown, which will serve gluten-free kale ravioli and “healthy” frosting shots and offer a meal delivery service from partner Tracy Anderson. [Eater]
Find out how to win an unlimited MetroCard for a full year just by sending a text. [Pix 11]
The Driverless Future Challenge seeks proposals that actively shape the city’s response to driverless cars. [Blank Space] Gwyneth Paltrow is ...
The listing brags that this Greenwich Village co-op looks like something out of a movie, and we’d have to agree. A two-year restoration of this apartment, which occupies the third floor of the 1839 Greek Revival townhouse 158 Waverly Place, left the 2,000-square-foot space looking gorgeous. Historic details are paired with both intricate wallpaper patterns and modern amenities. The apartment, too, has hosted a notable crew of residents. The townhouse was built for Lambert Suydam, the former president of Manhattan Gas & Light Co., and then the third floor was later occupied by Oscar winning actress Judy Holliday between 1948 and 1952. The latest owner, Thomas Ruff, is a German photographer who purchased it in 2006 for $1.65 million, according to public records. And now the co-op can be rented for $12,495 a month.
The living room is lined with bookshelves and a wood-burning fireplace. Outside those windows, there are uninterrupted views over the historic Northern Dispensary Building. Adjacent to the living room is a formal, customized dining room that can fit 12. The furnished rental will come with the banquet table, which was designed to replicate the Waverly Inn restaurant on Bank Street. The dining room also boasts a bar with a temperature controlled beer refrigerator and a concealed television which appears at the touch of a button.
Then dining room then leads into the den, also decked out with bookshelves and a wood burning fireplace. If you’re not a book lover, there’s a custom TV mounting system set up, too.
The kitchen was designed with green patterned wallpaper to compliment the exposed brick. That’s coupled by a Viking range, large capacity refrigerator and ample shelving and closet space.
The master bedroom boasts the apartment’s third wood burning fireplace, as well as period-inspired William Morris wallpaper. Located along the southern end of the apartment, the windows overlook the gardens of the historic townhouses along Waverly Place.
Tons of space, beautifully decorated, and in a prime Village location? This apartment looks straight of a movie, indeed. Be sure to check the gallery for a few more interior pictures that are sure to make you swoon.
The listing brags that this Greenwich Village co-op looks like something out of a movie, and we’d have to agree. ...
Industrial designer/architect (and lover of all things pink and white) Karim Rashid once told 6sqft, “Color is life and for me, color is a way of dealing with and touching our emotions, our psyche, and our spiritual being,” and this philosophy is clearly on display in his personal Hell’s Kitchen home. If you’re a fan of this quirky aesthetic, you’re in luck; Curbed tells us that Rashid’s super-sleek townhouse-condo at The Dillon recently hit the market for $4.75 million with the option to take it fully or partially furnished, meaning a lucky new owner would get some of his neon-forward art, patchwork seating, and futuristic decor.
The 2,767-square-foot spread is accessed through a private front courtyard, which opens to the main open living space with its 13-foot ceilings and floor-to-ceiling windows that lead to a 700-square-foot terrace. Here, huge blank white walls serve as the perfect backdrop for Rashid’s art collection. As Curbed informs us, the credenza is from his 2012 line for BoConcept and the patterned couch from a 2008 collection with Meritalia.
In a 2014 New York Magazine feature on the home, Rashid said he and his wife Ivana looked at 63 different apartments before deciding on this one. He said he was specifically searching for three things: “high ceilings, daylight, and a different level for our child to sleep on.”
The open kitchen has custom cabinetry with under-cabinet lighting, a green-mirrored backsplash that Rashid added, honed white quartz counters, and high-end appliances. The pendant lights are his design for AXO and he created the dining table and chairs for BoConcept.
One bedroom is located on the entry level, and there’s a full bathroom in the basement so that this can be turned into a fifth bedroom or media room. Three bedrooms, including the master and all with en-suite bathrooms, are on the upper level. The bed seen above is from Rashid’s “Twee Collection.”
Industrial designer/architect (and lover of all things pink and white) Karim Rashid once told 6sqft, “Color is life and for me, ...
On Tuesday the Landmarks Preservation Commission voted unanimously to designate the 125-year-old Cathedral Church of St. John The Divine, the world’s largest cathedral; in addition, 115 neighboring buildings became the Morningside Heights Historic District. The designated district runs from West 109th to 119th streets between Riverside Drive and Amsterdam Avenue and includes the famously unfinished cathedral and surrounding campus. With the designation, calendared by the LPC in September, comes a 3-D online map that provides more information about the buildings in the district, most of which were constructed between 1900 and 1910, including townhouses dating back to the late 1800s as well as pre-war apartment buildings.
Full Morningside Heights Historic District interactive map here.
Commission Chairwoman Meenakshi Srinivasan said in a statement, “The Cathedral is among the most famous church buildings in the world and is visited by hundreds of thousands of people each year who want to experience this 125-year-old masterpiece and complex with its varied and unique architectural styles…Preservation is not static; it can look towards the future.”
The first phase of construction of the iconic 124-foot French Gothic cathedral happened from 1892 to 1911, and the second phase, from 1916 to 1941, saw the nave completed and connected with the choir; a third phase was begun in 1979 on the western section, which remains unfinished.
Commissioner Shamir-Brown said, “It’s meaningful and important to designate the cathedral as a building that is unfinished. We’re recognizing not only what it was but what it will become. That says something about the potential open-endedness of preservation.”
Enclave at the Cathedral; image: CityRealty
In 2002 the City Council overturned a decision to designate the unfinished cathedral in an attempt to preserve the entire Cathedral Close. Two rental towers known as Enclave at the Cathedral that flank the cathedral’s northern exposure were excluded from the site’s designation. As 6sqft previously reported, the new rental buildings developed by the Brodsky Organization were involved in a controversy for their position obstructing the cathedral.
On Tuesday the Landmarks Preservation Commission voted unanimously to designate the 125-year-old Cathedral Church of St. John The Divine, the ...
Icy, metallic, and unabashedly serious is how one might describe The Cooper Union for the Advancement of Science and Art building in the East Village. But deep within its mash of raw concrete, steel beams, and metal screens is an unlikely 800-square-foot treasure chest filled with tens of thousands of design and typographical ephemera spanning multiple decades.
Known as The Herb Lubalin Study Center of Design and Typography, the quaint and cozy space opened in 1985 as an archive dedicated to the work of Herb Lubalin, an American graphic designer best known for his playful art direction at Avant Garde, Eros and Fact magazines, as well as his groundbreaking design work completed between 1950 and 1980 (including the original World Trade Center logo). As one would expect, the center is filled with one-of-a-kind Lubalin works that range from posters, journals, magazines, sketches, and packaging, most of which came from his studio, his employees, or via donation by Lubalin enthusiasts.
However, what many will be surprised to know is that Lubalin’s materials make up just 20 percent of the center’s entire collection. Indeed, about 80 percent of what’s tucked away comes from other influential designers. And those flat files not dedicated to Lubalin are filled with rare works from icons that include Push Pin Studios, Seymour Chwast, Milton Glaser, Lou Dorfsman, Massimo Vignelli, and more.
Typographic materials sit on the right shelves while design journals are on the left (top)
While the center does not loan items out, visitors are, by appointment, given free reign of the materials. Indeed, items can be taken out of their plastic slip covers, handled (with care), and guests are encouraged to explore every page and piece of ephemera at their disposal.
But with so many drawers to pull and so many boxes to thumb through, where does one start? We asked curator Alexander Tochilovsky to give us a tour of The Lubalin Center, and to offer some insight into how the archive is structured. Ahead also he shares why the collection is so much more than fonts and flourishes, and he points out some of the must-see gems hidden within the vast collection.
Flat files are organized thematically or by designer
First, who visits the center?
We mostly get designers here—I would say 90 percent are graphic designers. We had about 1500 people come through here last year, and it keeps growing every year. Designers are always looking for inspiration, and this is a great resource.
How has the center acquired most of its work?
Most of the items here have been donated to the center, and most of the items in the collection are typographic in nature because Lubalin made a name in typography. But a lot comes from designers, particularly older graphic designers, who have collected materials for reference over the years and are retiring, so they don’t really need them anymore. It’s a shame to throw such material away, and so people seek us out and they like our mission—they appreciate that people actually use what’s here and it doesn’t just sit in a box.
The original “Mother & Child” logo created by Lubalin, and to the right “ABCDEFG” type set in Avant Garde Gothic, which was designed by Herb Lubalin with Tom Carnase (top)
How do you judge what’s appropriate for inclusion?
Fortunately, on some level, I don’t need to decide what needs to be cut or kept. I’ve been here going on seven years, and while we’ve had a number of donations, I haven’t turned anything away because everything has fit thematically or filled a hole or niche. And most ephemera is relatively small, so even though we don’t have a ton of space, we can always be smarter about the space we do have.
We’re kind of a living and breathing archive and we’re constantly able to adjust—we’re not just a box where everything just goes into storage. When we have visitors, we do it by appointment, but we give them full access to everything, and I think we’re unique in that sense. We try not to hide things. But it’s also the nature of the space. We could ask people to sit and we could gently bring them stuff, but I think there’s something really magical about being able to open the drawers and “go behind the curtain.” We definitely encourage browsing because you may open a drawer and you may not recognize a name, but you’re like wow, I have this newfound passion for this particular person or particular aesthetic.
Preliminary sketches of the PARADE magazine logo by Herb Lubalin
Given there are a lot of rare items here, has the value of any of the works been assessed?
Some material, yes, but it’s really difficult to put a value to some things, especially those that are one-of-a-kind. There are very few appraisers that can appraise graphic design.
For example, we have a number of some of Lubalin’s sketches. As pieces of paper or documentation they may not have value, but something like the PARADE piece (above) is incredibly invaluable in a cultural and graphic design sense. But financially it may not be worth much at all.
The first issue of Avant Garde magazine (amongst every issue published), which contains drawing done exclusively for the publication by boxer Muhammad Ali
We also have every issue of Avant Garde magazine, which Herb Lubalin art directed. There is a market value for them (you can get them on eBay for between $100-200) but the articles inside are so much more valuable that the physical magazine itself.
In the first issue of AvantGarde there is an article that really no one is familiar with called “Drawings by Muhammad Ali” which shows a completely obscure side of Ali that very few people know about. Some people know he liked to draw, but what they’re familiar with are the very neutral drawings, mostly of boxing scenes. But the drawings in this issue involve very deep social issues he’s contending with such as Islam, race, lynching—it’s the side of Ali you would never really see. There’s even one image of him in the courtroom when he was convicted of dodging the draft.
Several of the rare, politically-charged drawings Muhammad Ali within the first issue of Avant Garde
And the sad part about these drawings is that they were made just for the magazine. It’s very likely the original drawings didn’t survive. So this is the only place you would ever encounter them. So, sure, there’s maybe a $100 value to this magazine, but the cultural significance is astoundingly bigger.
How does digital design play into the museum, do you take documentation from working studios on important projects?
Not yet. Our mission has always been to protect what we have and to maintain that for as long as we can and digitize that—and that itself has become a new mission for us. But part of my interest is to salvage some of the older materials that might disappear. For example, I’ll buy some old paperbacks that may not be from a very famous designer, but it’s important for me to add them to the collection because they augment the notion of what graphic design really looked like.
So the design might not be considered “high end” for the same period, like with really beautiful modernist works, but if we only keep modernist works it makes it seem like modernism was the only style when that is far from the truth. Modernism existed and there was a counterpoint to it. I want there to be a true testament of how things were.
Wild, very psychedelic designs that graced pharmaceutical pamphlets in the early 1950s. The public never saw these materials, as they were provided exclusively to doctors
What are a few of your favorite pieces from the collection?
We have some pharmaceutical design pieces that I love that are really illustration heavy. Like this one from Jerome Snyder, which is from 1952 and pretty out there for the time. These are mailers and pharmaceutical designs like this were mostly sent to doctors only. So this is material very few people would see or keep.
Another one of my favorites is this work by done by Louis Silverstein. Silverstein spent his entire career at the New York Times and was responsible for the redesign of the paper and its grid structure. We have a lot of his studies on how a contemporary newspaper should be constructed. We also have a number of tear sheets that designers would get for their portfolio for anything that would run in the paper.
Original tear sheets from the New York Times of images taken by famed photographer Robert Frank. These are the only set in existence and were images produced early in Frank’s career when he was a freelance photographer just starting out.
The tears would be printed on nicer stock so the creator would have a nice copy for their files. So this (seen above) is a set that probably exists in just one copy, and it’s a campaign that the Times did that uses photography from Robert Frank.
It was work for hire, so the New York Times owns this work, not Frank, so you’ll never see it published in his books. So the people who might have seen them are the people in 1959 who picked up the newspaper where this ran. The audience is infinitesimal. And here we have the original set of these photographs. They are very beautiful, very Frank photography, in his style and in his hand. And this was done while he was still a freelance photographer trying to make a living.
In-store promo developed by designer Tibor Kalman for the Talking Heads
Tibor Kalman and his company designed most of the packaging and sleeves for the Talking Heads. We have some the in-store promo for the “Naked” album, and this (above) is a piece they commissioned an animal painter to paint.
In an era where an inexhaustible amount of information exists online, where does a place like this fit in?
Very little of what’s here—80 percent I’d say—is not available online, and very few people have seen it. What I say to students and other designers is that if you’re doing visual research online, you’re probably typing the same string of text into Google that someone else is typing, and the way the algorithm works, you’re basically going to see the same thing everyone else is seeing.
So if you want to see something different, you have to do a little bit of legwork and come to places like this because what we have is not online. For example, you might see the cover of a Fortune magazine from the 1930s online, but at the Lubalin Center we have the whole issue. And you never know what you’ll find inside.
An article on Ellis Island in Avant Garde (top); Milton Glaser book cover illustrations (bottom)
Admission to The Lubalin Center is free, but access is granted by appointment only. Some of the contents in the archives are also featured online at Flat File, a newly launched design resource. With Flat File, curator Alexander Tochilovsky and designer Anton Herasymenko pull individual works from the center’s collection and dissect them to reveal their context and history.
Icy, metallic, and unabashedly serious is how one might describe The Cooper Union for the Advancement of Science and Art ...
For an architect who had yet to break into the NYC scene, Jeanne Gang is now moving full steam ahead. Her firm, Studio Gang, received LPC approvals back in October for their much-hyped, $340 million Museum of Natural History expansion, and now, CityRealty tells us that construction has begun on their razor-edged glass tower along the High Line. Dubbed “Solar Carve Tower” for the firm’s strategy that “uses the incident angles of the sun’s ray to form the gem-like shape,” the 12-story office building will be Gang’s first ground-up project when completed.
The futuristic-looking structure will rise 190 feet with 117,657 square feet of commercial space, including two floors of ground-level retail topped by a public plaza. It’s seeking LEED Gold certification thanks to how its unique shape mitigates solar gain (it also maximizes views of the High Line and Hudson River) and how a green roof will help keep the building cool.
Google Earth views of the tower, via CityRealty
Addressed as 40 Tenth Avenue, the Solar Carve Tower is situated directly along the High Line between 13th and 14th Streets. It’s just a block away from what will be the entrance to the equally futuristic Pier 55 offshore park and a couple blocks from Google’s under-construction SuperPier at Pier 57.
Construction as of this week, via CityRealty
Plans for the tower first surfaced in 2012, shortly after Jeanne Gang announced plans to open her first NYC office. Since then, developers William Gottlieb Real Estate have run into several issues, such as neighborhood opposition and a disapproval of a zoning amendment to build taller than the permitted 12 stories. But demolition at the site is now complete and construction is underway.
For an architect who had yet to break into the NYC scene, Jeanne Gang is now moving full steam ahead. ...
This three-story, two-family Clinton Hill townhouse at 578 Myrtle Avenue, zoned to allow a commercial establishment on the ground floor, has plenty of living space and lots of income potential. Asking $2.5 million, the current setup as a painter’s single-family home and workspace further underscores the freedom and fun of townhouse living. The light-filled top floor is currently used as a studio for the artist-in-residence (his favorite subjects are “ballet dancers, bullfighters, and women of the night, lounging in opulent bedrooms,” as seen above) whose enjoyment of rouge, magenta, blue and beyond can be seen throughout the house.
We’ll guess by the wine shelf wall in the finished basement (see floor plans)–which now also holds a washer/dryer and bath–and this very funky candy-colored bar-slash-kitchen that the house has seen its days as a neighborhood drinking establishment. We love the tin ceilings!
Teal, brick and tin are a great backdrop for lots and lots of art. The 3,200-square-foot home has four working wood-burning fireplaces, the aforementioned finished basement, and a large backyard.
That top floor studio looks like the perfect place to paint, practice or otherwise create. Exposed brick and beams and built-in storage make this private loft aerie a rare find atop a townhouse.
There is indeed a large backyard, ready for gardening and BBQ once the snow melts–and we can see some serious potential at Christmastime.
Though it may look a little scruffy, the north Clinton Hill Myrtle Avenue neighborhood’s definitely one to watch, surrounded by the booming Navy Yard, Bed-Stuy and Pratt. The listing’s promise of “an easy commute to Manhattan and beyond” via the G subway is a bit misleading, however, since that line is strictly Brooklyn-only (though it’s an easy enough switch to another line).
This three-story, two-family Clinton Hill townhouse at 578 Myrtle Avenue, zoned to allow a commercial establishment on the ground floor, has ...
A thoroughly transformative re-design by New York studio O’Neill McVoy Architects turns a historic red brick townhouse on a slender 24- by 76-foot lot in need of light and air into an ultra-bright and inspiring modern residence for a young family. The Clinton Hill Courtyard House, in a landmarked section of the neighborhood, was built in 1877 as a carriage house for the mansion next door. The historic integrity of the home’s exterior was left intact, but inside, three strategic openings–including skylights, a central courtyard, and a perforated interior stair wall–were created to let in light and air everywhere for daily living.
The firm gutted and redesigned the interior from top to bottom; the newly-configured residence is comprised of a two-story volume and single-story volume, with an outdoor courtyard connecting them. “Three ‘light volumes’ are subtracted from the structure to transform it into an inspiring residence, opening up all the spaces of daily living to light and nature.”
On the second story, a section was cut out to create a “sky volume,” bringing light into the library and master bedroom on that floor and to the living room below. The architects explain,”Two squares of skylight project the sun’s path across the white-stained plywood surfaces of the cubic volume, amplifying seasonal and diurnal variation.”
A “light garden” volume wrapped in sliding glass walls with mahogany frames was created in the center of the dwelling to bring natural light to everything surrounding this core. The 195-square-foot courtyard was landscaped with black river rocks, a dogwood tree and climbing vines. Surrounding the courtyard are the living room, kitchen and a children’s bedroom.
Above the single-story portion of the home, a roof terrace was given a “skylight/table” to channel light into the home’s rear bedroom.
The studio also punched one-inch holes into an interior stair wall, placed “perpendicular at eye height and at radiating angles up and down for shifting views.”
On the home’s ground level, a loft-like open space was created with exposed original joists and concrete flooring with a radiant heating system.
As a result of the overhaul, “The boundaries between interior and exterior are porous in this hybrid loft/courtyard/rowhouse,” explain the architects. “The living spaces focus inward to the Light Volumes, which in turn open out to garden and sky.”