Tiffany Chair Glass is free HD wallpaper. This wallpaper was upload at September 15, 2018 upload by admin in Design.
Better with age. Photograph by Jenn Verrier Photography.
If a Victorian-era company alleged at this 1896 Capitol Hill rowhouse, she’d acquisition the etched-glass antechamber doors and marbleized bank panels familiar. But the Nelson lantern lights, abreast art, and Eames bank hooks that allotment the entryway? Not so much. Artist Nicole Lanteri wasn’t assassin to bottle the abode in amber, afterwards all. Rather, the ancestors who broke her to acclimate the three-story home in 2017 asked that she both save some of its appearance and inject it with active energy. “They assassin me to accomplish it feel fresh,” says Lanteri.
A lot of the adapt was powered by paint. Ablaze white replaced a creamier adumbration on best walls, summoning a gallery-like mood. The dining room, ahead an flat mustard, got a few coats of Benjamin Moore “Gentleman’s Gray.” In the eat-in kitchen, a glossy, Tiffany-ish dejected active up the old trim. Luckily, abounding of the capital level’s best absorbing features—ceiling medallions, honey-colored copse floors, the active room’s intricately carved broiler mantel—were still intact. “We could accept corrective [the mantel] white to accomplish the allowance attending larger,” says Lanteri, “but it’s admirable and unusual, so we kept it as is.”
To body adverse with those aboriginal details, Lanteri chose appliance that leaned midcentury modern—such as Crate & Barrel chairs in abrupt black, amassed about the kitchen table, and an Industry West marble-topped coffee table in the active room. A few antiques—including carved 19th-century dining chairs—create an eclectic, adequate mix.
On the high levels, there’s a agnate accommodation amid old and new. In the second-floor ancestors room, accession adorned mantel was corrective matte atramentous to bout new congenital bookcases. “It makes aggregate attending like it belongs together,” says Lanteri. Tailored pieces—a squared-off covering sofa, a West Elm armchair in a black-and-white print—add up to a cozy, multipurpose space. In the adjoining adept suite, a bank of befuddled floral wallpaper riffs on the botanical prints Victorians adored. “But it’s a midcentury Swedish pattern,” says Lanteri. “So there’s commodity absorbing and new activity on.”
Some bodies who buy old houses draw out the radiators. Others adumbrate them below covers. Artist Annie Elliott autonomous to accentuate the ones in her 1910 Wardman rowhouse by painting them in shades of brownish and brass. “Radiators are attractive!” she says. “My aesthetics is if you accept an old abode with aboriginal features, why would you rip aggregate out?”
Elliott confused into her Woodley Park home in 2005 with her bedmate and now-tween daughters. She has adapted it in phases over the years, award means to bottle its celebrated candor after authoritative it feel antiquated. The aboriginal oak floors, coffered dining-room ceiling, and acme abstraction set off adapted wallpaper choices: Nina Campbell’s bird-festooned “Paradiso” in the foyer, a safari-esque tan grass bolt in the dining room. Abounding of the ablaze accessories are either new or almost contemporary, including a affecting Brutalist chandelier in the dining room. “There’s no faster way to amend a amplitude than with lights,” says Elliott.
In the costly first-floor active room, a skinny-legged aged cafe plays accurately with avant-garde sofas and chairs from Mitchell Gold & Bob Williams and CR Laine. An Oriental rug and a arcade bank of bounded and best art add to the mix. That soft-pink paint—Benjamin Moore “Pink Moiré”—serving as the backdrop? “It charge be the seventh blush I’ve had in here,” says Elliott. “I assumption my abode is my laboratory.”
Even the best committed old-house fans, though, generally covet kitchens with all the avant-garde conveniences, and Elliott is no different. Besides, whatever had been in her kitchen in the aboriginal 20th aeon was continued gone by the time she confused in, replaced with 1980s-era, salmon-hued Formica and anachronous oak cabinetry. Her adapted adaptation stars gray-and-white Belgia marble countertops and a custom bottle backsplash depicting Mid-Atlantic birds and flowers. The adjoining butler’s abdomen alone looks old-fashioned—it’s brand-new, admitting it does accommodate her grandmother’s best etched-glass goblets.
Retirees Christina and John Markey’s 1927 bungalow in Del Ray came from a Sears catalog. But back the brace absitively to aggrandize their kit house, they capital to abstain a cookie-cutter adjustment job. “We adulation Frank Lloyd Wright and Craftsman style, so the best important affair for us was to advance the home’s integrity,” says Christina. “But the abode alone had one ablution upstairs, and the kitchen was aphotic and old. We capital to accomplish it added functional.”
After interviewing several architects, the Markeys assassin Michael Winn of Winn Architecture & Build, whose aggregation added the admeasurement of the abode from 1,422 to 2,223 aboveboard feet. A two-level accession brought a new kitchen, bisected bathroom, and abundant allowance to the aboriginal attic as able-bodied as two bedrooms and a additional ablution upstairs.
Thanks to anxious capacity central and out, it’s adamantine to acquaint breadth the old abode starts and the new genitalia begin. Back designing the addition, Winn mimicked the angle of the aboriginal roof. Indoors, the new anatomy was adorned with oak moldings and floors to bout those that came from Sears decades earlier.
Other changes pay accolade to early-20th-century style. The ample kitchen, for instance, got handsome copse cabinets in a period-appropriate grayish green—Winn autogenous artist Jennifer Hall alloyed abounding custom acrylic blends afore she accomplished that absolute Craftsman shade. The six-burner Thermador stove is the brilliant avant-garde feature. “It replaced the 1927 Vulcan ambit that I had to ablaze with a match,” says Christina. “I adulation that the abode still feels like an old bungalow, but it lives added calmly now.”
In a arena abounding of rowhouses and brick Colonials, Bethesda’s Tulip Hill adjacency of midcentury-modern ranches is a adequate outlier. “They’ve got long, angular lines, like a 1950s Chevy,” says homeowner Erich Cabe. The real-estate abettor and his wife, Amanda, an accountant, bought a 1957 home in the breadth that bare work. They assassin architects from Anthony Wilder Design/Build to reimagine the place. “Originally, we aloof anticipation we’d accommodate the kitchen, add a bathroom, and accommodate the adept bedroom,” says Erich. “But that evolved.”
Ultimately, the brace adapted the absolute abode while blockage accurate to its Mad Men vibe and after alteration its footprint. By altering the roofline, the aggregation from Anthony Wilder spruced up the home’s barrier appeal. What’s more, the new roof, with its continuing metal seam, added acme to the ceilings central as able-bodied as ablaze to the accomplished structure. “It fabricated all the spaces feel beyond and opened up the views,” says artist Sean Mullin.
In the active room, a able congenital appliance looks original, but it’s a new affection that doubles as a affiliate amid that amplitude from the den. The adept bath, aforetime so awkward “you couldn’t about-face about in the shower,” says Amanda, was broadcast and amped up with a custom blooming vanity that resembles a midcentury bureau.
The apple-pie curve of the kitchen analogously pay admiration to the house’s period. Its eat-in alcove is absolute by a Louis Poulsen PH Snowball pendant, a 1958 architecture that resembles a sci-fi starship. Anthony Wilder autogenous artist Shannon Kadwell broiled up the accomplished kitchen with copse emphasis walls: “I played off the artlessness of midcentury modern,” she says. “Now it connects seamlessly to the outdoors.”
This commodity appears in the September 2019 issue of Washingtonian.
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