An Arts & Crafts Bungalow is one of my favorite styles of homes. We have quite a few of them in our Stockton Mid-Town area. And when C&L called us to help them remodel their 1923 American Bungalow, I was beyond thrilled. As per usual, when we get a new inquiry, we quickly Google the project location while we are talking to you on the phone. My excitement escalated when I saw the Google Earth Image of the sweet Sage Green bungalow in Mid-Town Stockton. "Yes, we would be interested in working with you," I said trying to keep my cool. But what made it even better was meeting C&L and touring their home, because they are the nicest young couple, eager to make their home period perfect. Unfortunately, it had been slightly molested by some bad house-flippers, and we needed to bring the bathroom back to it "roots." We knew we had to banish the hideous brown tile and cheap vanity quickly. But C&L complained about the condensation problems and the constant fight with mold. This immediately told me that improper remodeling had occurred and we needed to remedy that right away. The Before: Frustrations with a Botched Remodel The bathroom needed to be brought back to period appropriate design with all the functionality of a modern bathroom. We thought of things like marble countertop, white mosaic floor tiles, white subway tile, board and batten molding, and of course a fabulous wallpaper. This small (and only) bathroom on a tight budget required a little bit of design sleuthing to figure out how we could get the proper look and feel. Our goal was to determine where to splurge and where to economize and how to complete the remodel as quickly as possible because C&L would have to move out while construction was going on. The Process: Hard Work to Remedy Design and Function During our initial design study, (which included 2 hours in the owners’ home), we noticed framed images of William Morris Arts and Crafts textile patterns and knew this would be our design inspiration. We presented C&L with three options and they quickly selected the Pimpernel Design Concept. We had originally selected the Black and Olive colors with a black vanity, mirror, and black and white floor tile. C&L liked it but weren’t quite sure about the black, We went back to the drawing board and decided the William & Co Pimpernel Wallpaper in Bayleaf and Manilla color with a softer gray painted vanity and mirror and white floor tile was more to their liking. After the Design Concept was approved, we went to work securing the building permit, procuring all the elements, and scheduling our trusted tradesmen to perform the work. We did uncover some shoddy work by the flippers such as live electrical wires hidden behind the wall, plumbing venting cut-off and buried in the walls (hence the constant dampness), the tub barely balancing on two fence boards across the floor joist, and no insulation on the exterior wall. All of the previous blunders were fixed and the bathroom put back to its previous glory. We could feel the house thanking us for making it pretty again. The After Reveal: Cohesive Design Decisions We selected a simple white subway tile for the tub/shower. This is always classic and in keeping with the style of the house. We selected a pre-fab vanity and mirror, but they look rich with the quartz countertop. There is much more storage in this small vanity than you would think. The Transformation: A Period Perfect Refresh We began the remodel just as the pandemic reared and stay-in-place orders went into effect. As C&L were already moved out and living with relatives, we got the go-ahead from city officials to get the work done (after all, how can you shelter in place without a bathroom?). All our tradesmen were scheduled to work so that only one crew was on the job site at a time. We stayed on the original schedule with only a one week delay. The end result is the sweetest little bathroom I've ever seen (and I can't wait to start work on C&L's kitchen next). Thank you for joining me in this project transformation. I hope this inspired you to think about being creative with your design projects, determining what works best in keeping with the architecture of your space, and carefully assessing how you can have the best life in your home.

We introduce to you one of our newer services we are providing here at Kitchen Design Concepts: spaces that just need a little reviving! As of recent, we are taking on projects that are in need of minimal updating, as in, spaces that don’t need a full-on remodel. Yes, you heard right! If your space has good bones, you like the layout of your kitchen, and you just need a few cosmetic changes, then today’s feature is for you! Recently, we updated a space where we did just this! The kitchen was in need of a little love, some fresh paint, and new finishes. And if we’re being honest here, the result looks almost as if the kitchen had a full-on remodel! To learn more about this space and how we did our magic, continue reading below: The Before and After First, see what an impact new finishes can make! The “before” image shows a kitchen with outdated finishes such as the tile countertops, backsplash, and cabinetry finish. The “after” image, is a kitchen that looks almost as if its brand new, the image speaks for itself! Cabinetry With the wooden cabinetry in this kitchen already having great bones, all we needed to do was our refinishing process that involved removing door and drawer fronts, sanding, priming, and painting. The main color of the cabinetry is white (Sherwin Williams Pure White 7005) and as an accent, we applied a deep navy blue that really pops in this space (Sherwin Willaims Naval 6244). As a special design element, we incorporated a natural wooden band across the hood which is subtle but adds an element of surprise. Countertops The original countertops in this space were a 12×12 tile with cracks and discolored grout from all the wear and tear. To replace the countertops, we installed a clean and crisp quartz that is not only durable but easy to maintain (no grout here!). The 3cm countertops are a Cambria quartz in a grey-tone color (Carrick). Backsplash Keeping things simple, yet classic, we installed a 3×6 subway tile from Interceramic. The crisp white pairs well with all the other finishes of the space and really brighten the space up! To spice things up, we paired the white tile with a contrasting grout color (Cape Grey) that matches the countertop. This is a simple method to add interest to your white backsplash! Fixtures and Fittings For the fixtures and fittings of the kitchen, we wanted pieces that made a statement. That’s why we selected this industrial style faucet from Brizo! The faucet is a Brizo LITZE™ PULL-DOWN FAUCET WITH ARC SPOUT AND INDUSTRIAL HANDLE (63044LF-BLGL). The matte black paired with the luxe gold elements really make a statement! To match the gold elements of the faucet, we installed cabinetry hardware from Topknobs in the same gold finish. The hardware is a Channing pull TK743HB. Lastly, the large single bowl sink (who doesn’t want a large sink?!) is a great functional touch to the kitchen. The sink is a Blanco Precision 16″ R10 super single with 16″ Drainer in stainless steel (516216).

An Arts & Crafts Bungalow is one of my favorite styles of homes. We have quite a few of them in our Stockton Mid-Town area. And when C&L called us to help them remodel their 1923 American Bungalow, I was beyond thrilled. As per usual, when we get a new inquiry, we quickly Google the project location while we are talking to you on the phone. My excitement escalated when I saw the Google Earth Image of the sweet Sage Green bungalow in Mid-Town Stockton. "Yes, we would be interested in working with you," I said trying to keep my cool. But what made it even better was meeting C&L and touring their home, because they are the nicest young couple, eager to make their home period perfect. Unfortunately, it had been slightly molested by some bad house-flippers, and we needed to bring the bathroom back to it "roots." We knew we had to banish the hideous brown tile and cheap vanity quickly. But C&L complained about the condensation problems and the constant fight with mold. This immediately told me that improper remodeling had occurred and we needed to remedy that right away. The Before: Frustrations with a Botched Remodel The bathroom needed to be brought back to period appropriate design with all the functionality of a modern bathroom. We thought of things like marble countertop, white mosaic floor tiles, white subway tile, board and batten molding, and of course a fabulous wallpaper. This small (and only) bathroom on a tight budget required a little bit of design sleuthing to figure out how we could get the proper look and feel. Our goal was to determine where to splurge and where to economize and how to complete the remodel as quickly as possible because C&L would have to move out while construction was going on. The Process: Hard Work to Remedy Design and Function During our initial design study, (which included 2 hours in the owners’ home), we noticed framed images of William Morris Arts and Crafts textile patterns and knew this would be our design inspiration. We presented C&L with three options and they quickly selected the Pimpernel Design Concept. We had originally selected the Black and Olive colors with a black vanity, mirror, and black and white floor tile. C&L liked it but weren’t quite sure about the black, We went back to the drawing board and decided the William & Co Pimpernel Wallpaper in Bayleaf and Manilla color with a softer gray painted vanity and mirror and white floor tile was more to their liking. After the Design Concept was approved, we went to work securing the building permit, procuring all the elements, and scheduling our trusted tradesmen to perform the work. We did uncover some shoddy work by the flippers such as live electrical wires hidden behind the wall, plumbing venting cut-off and buried in the walls (hence the constant dampness), the tub barely balancing on two fence boards across the floor joist, and no insulation on the exterior wall. All of the previous blunders were fixed and the bathroom put back to its previous glory. We could feel the house thanking us for making it pretty again. The After Reveal: Cohesive Design Decisions We selected a simple white subway tile for the tub/shower. This is always classic and in keeping with the style of the house. We selected a pre-fab vanity and mirror, but they look rich with the quartz countertop. There is much more storage in this small vanity than you would think. The Transformation: A Period Perfect Refresh We began the remodel just as the pandemic reared and stay-in-place orders went into effect. As C&L were already moved out and living with relatives, we got the go-ahead from city officials to get the work done (after all, how can you shelter in place without a bathroom?). All our tradesmen were scheduled to work so that only one crew was on the job site at a time. We stayed on the original schedule with only a one week delay. The end result is the sweetest little bathroom I've ever seen (and I can't wait to start work on C&L's kitchen next). Thank you for joining me in this project transformation. I hope this inspired you to think about being creative with your design projects, determining what works best in keeping with the architecture of your space, and carefully assessing how you can have the best life in your home.

All images by Bob Wallace Photo Group
Powder room - small modern black tile ceramic tile powder room idea in New York with a wall-mount sink, a one-piece toilet and orange walls

All images copyright Mike Healey Productions, Inc.
Example of a mid-sized classic dark wood floor and brown floor great room design in Dallas with beige walls and no fireplace

Originally built in 1970, this later-model Eichler—designed by architect Claude Oakland—features a distinctive “Model 14” roofline with a clipped gable, a subtle nod to the charm of English thatch-roof cottages. Acquired from the original owner, the home remained in untouched, original condition—offering a rare opportunity for restoration, but also presenting an urgent need for updates. Our approach was grounded in respect for Oakland’s original design intent, while thoughtfully incorporating essential upgrades to meet modern building codes and today’s lifestyle expectations. Eichler homes were originally built using modest, cost-effective materials to make modern architecture accessible to the growing mid-century middle class. While iconic, elements like laminate countertops, particle board cabinetry, and vinyl composition tile flooring haven’t stood the test of time. We carefully replaced these with more durable, high-quality alternatives—granite countertops, maple-ply cabinets, and luxury vinyl tile—ensuring the home remains true to its spirit while standing strong for decades to come. All images © Ken Gutmaker

Originally built in 1970, this later-model Eichler—designed by architect Claude Oakland—features a distinctive “Model 14” roofline with a clipped gable, a subtle nod to the charm of English thatch-roof cottages. Acquired from the original owner, the home remained in untouched, original condition—offering a rare opportunity for restoration, but also presenting an urgent need for updates. Our approach was grounded in respect for Oakland’s original design intent, while thoughtfully incorporating essential upgrades to meet modern building codes and today’s lifestyle expectations. Eichler homes were originally built using modest, cost-effective materials to make modern architecture accessible to the growing mid-century middle class. While iconic, elements like laminate countertops, particle board cabinetry, and vinyl composition tile flooring haven’t stood the test of time. We carefully replaced these with more durable, high-quality alternatives—granite countertops, maple-ply cabinets, and luxury vinyl tile—ensuring the home remains true to its spirit while standing strong for decades to come. All images © Ken Gutmaker

Originally built in 1970, this later-model Eichler—designed by architect Claude Oakland—features a distinctive “Model 14” roofline with a clipped gable, a subtle nod to the charm of English thatch-roof cottages. Acquired from the original owner, the home remained in untouched, original condition—offering a rare opportunity for restoration, but also presenting an urgent need for updates. Our approach was grounded in respect for Oakland’s original design intent, while thoughtfully incorporating essential upgrades to meet modern building codes and today’s lifestyle expectations. Eichler homes were originally built using modest, cost-effective materials to make modern architecture accessible to the growing mid-century middle class. While iconic, elements like laminate countertops, particle board cabinetry, and vinyl composition tile flooring haven’t stood the test of time. We carefully replaced these with more durable, high-quality alternatives—granite countertops, maple-ply cabinets, and luxury vinyl tile—ensuring the home remains true to its spirit while standing strong for decades to come. All images © Ken Gutmaker

Originally built in 1970, this later-model Eichler—designed by architect Claude Oakland—features a distinctive “Model 14” roofline with a clipped gable, a subtle nod to the charm of English thatch-roof cottages. Acquired from the original owner, the home remained in untouched, original condition—offering a rare opportunity for restoration, but also presenting an urgent need for updates. Our approach was grounded in respect for Oakland’s original design intent, while thoughtfully incorporating essential upgrades to meet modern building codes and today’s lifestyle expectations. Eichler homes were originally built using modest, cost-effective materials to make modern architecture accessible to the growing mid-century middle class. While iconic, elements like laminate countertops, particle board cabinetry, and vinyl composition tile flooring haven’t stood the test of time. We carefully replaced these with more durable, high-quality alternatives—granite countertops, maple-ply cabinets, and luxury vinyl tile—ensuring the home remains true to its spirit while standing strong for decades to come. All images © Ken Gutmaker

Design by EFE Creative Lab, Inc. All images by Iconic Virtual Studios
Trendy kitchen/dining room combo photo in Miami

Originally built in 1970, this later-model Eichler—designed by architect Claude Oakland—features a distinctive “Model 14” roofline with a clipped gable, a subtle nod to the charm of English thatch-roof cottages. Acquired from the original owner, the home remained in untouched, original condition—offering a rare opportunity for restoration, but also presenting an urgent need for updates. Our approach was grounded in respect for Oakland’s original design intent, while thoughtfully incorporating essential upgrades to meet modern building codes and today’s lifestyle expectations. Eichler homes were originally built using modest, cost-effective materials to make modern architecture accessible to the growing mid-century middle class. While iconic, elements like laminate countertops, particle board cabinetry, and vinyl composition tile flooring haven’t stood the test of time. We carefully replaced these with more durable, high-quality alternatives—granite countertops, maple-ply cabinets, and luxury vinyl tile—ensuring the home remains true to its spirit while standing strong for decades to come. All images © Ken Gutmaker

Whitewashed structure and horizontal boards brighten the space while adding texture and visual interest, creating a cabin feel upstairs with the same durability of the materials downstairs. All images © Benjamin Benschneider Photography

Kitchen designed by Tara Fust Design (www.fustco.com). Photo by David Cannon Photography (www.davidcannonphotography.com).
Kitchen - transitional l-shaped medium tone wood floor kitchen idea in Atlanta with a farmhouse sink, gray cabinets, quartz countertops, stone tile backsplash, stainless steel appliances, shaker cabinets and white backsplash

Bilotta designer David Arnoff and Leia Ward from LTW Design worked as a team on this complete kitchen renovation. As you can see from the before and after photos they decided to remove walls to create an open floor plan. The addition of new floors created a seamless flow from the kitchen into the adjacent family room and dining room. They opted for an all-white color palette for the Bilotta cabinetry and countertops. The countertops and backsplash are both a natural quartz from Aurea Stone. They selected the “Phidias” color which is primarily white with some grey veining. Stainless steel or paneled appliances are by Miele, GE, LG Fisher Paykel and Zephyr. Two islands give enough seating for a group gathering and more drawers for storage while keeping the open floor plan.

Located in the heart of Manhattan’s Lower East Side, the building was erected on a shallow commercial lot between two 120 year old masonry buildings and a new residential rental building. 330 Grand Street is a mix of 725 SF 1BRs and 1050 SF 2BR apartments. It also contains a 1100 SF two story duplex as well as private and public rooftop space, large private balconies for most units and two large private terraces for the ground floor units. 330 Grand Street was originally designed and approved at the NYC DOB as a prefabricated modular building. During the pandemic, as shipping costs skyrocketed putting the project at risk, we suggested redesigning the building as a reinforced cast-in-place concrete structure. Concrete was readily available and prices had not been affected by the demand increase that many other materials suffered in the pandemic. We took this opportunity to raise floor to ceiling heights, enlarge high performance windows and redistribute the buildings MEPFS and Structural Systems to create very open floor plans. The challenge was to create a luxurious sensorial living experience with very limited means. In a city with very high construction costs, low cost residential buildings in the area are usually devoid of good quality, design and character. Our approach was to aim high for the end user, prioritizing natural light, open space with long visual perspectives, high ceilings and as always, rejecting the use of predefined building templates. Our biggest challenge was to ensure that the small spaces feel as clean cut, large and bright as possible. Several unique design decisions were made to ensure low cost and high quality; Floor plans were laid out so that spaces were wide open and free of clutter from mechanical or structural interruptions. Therefore all infrastructure was placed in lateral demising walls, which in turn act as the unit’s storage and kitchen. The apartments feel wide open, are super quiet and have more storage space than any other comparable apartment in the city. To solve the problem of the site’s shallow commercial lot which is typically prone to dark interior spaces we focused our attention on the building’s envelope. Instead of the usual small punched window openings, oversized high performance windows were designed to ensure that light penetrated as far as possible into the units. In the smaller 1BR units, the full 50’ depth of the lot is perceived by partitioning spaces with sliding pocket doors that can be retracted to allow deep visual perspectives, making the sight lines in the space feel longer, larger, more ample than normal. In addition to the full height glazing, each unit above the 2nd floor receives a 7 foot covered balcony, adding 120 to 240 sf to each apartment, something unusual in New York City buildings. The space is large enough for a full size dining table, when the weather permits being outside. We also worked hard to ensure modularity. For example, all kitchen units are all identical throughout the building. The idea of modularity and the economy of the repetitive unit is exercised to the maximum through the building. Hardware, appliances, flooring, wall coverings and material finishes are all carefully selected to feel bespoke, high quality and unique. It was important to KURV that the result of this work manifest into something that would deeply connect with the end user and sustain relationships with the consumers of this space. All images by KURV Architecture ©

Located in the heart of Manhattan’s Lower East Side, the building was erected on a shallow commercial lot between two 120 year old masonry buildings and a new residential rental building. 330 Grand Street is a mix of 725 SF 1BRs and 1050 SF 2BR apartments. It also contains a 1100 SF two story duplex as well as private and public rooftop space, large private balconies for most units and two large private terraces for the ground floor units. 330 Grand Street was originally designed and approved at the NYC DOB as a prefabricated modular building. During the pandemic, as shipping costs skyrocketed putting the project at risk, we suggested redesigning the building as a reinforced cast-in-place concrete structure. Concrete was readily available and prices had not been affected by the demand increase that many other materials suffered in the pandemic. We took this opportunity to raise floor to ceiling heights, enlarge high performance windows and redistribute the buildings MEPFS and Structural Systems to create very open floor plans. The challenge was to create a luxurious sensorial living experience with very limited means. In a city with very high construction costs, low cost residential buildings in the area are usually devoid of good quality, design and character. Our approach was to aim high for the end user, prioritizing natural light, open space with long visual perspectives, high ceilings and as always, rejecting the use of predefined building templates. Our biggest challenge was to ensure that the small spaces feel as clean cut, large and bright as possible. Several unique design decisions were made to ensure low cost and high quality; Floor plans were laid out so that spaces were wide open and free of clutter from mechanical or structural interruptions. Therefore all infrastructure was placed in lateral demising walls, which in turn act as the unit’s storage and kitchen. The apartments feel wide open, are super quiet and have more storage space than any other comparable apartment in the city. To solve the problem of the site’s shallow commercial lot which is typically prone to dark interior spaces we focused our attention on the building’s envelope. Instead of the usual small punched window openings, oversized high performance windows were designed to ensure that light penetrated as far as possible into the units. In the smaller 1BR units, the full 50’ depth of the lot is perceived by partitioning spaces with sliding pocket doors that can be retracted to allow deep visual perspectives, making the sight lines in the space feel longer, larger, more ample than normal. In addition to the full height glazing, each unit above the 2nd floor receives a 7 foot covered balcony, adding 120 to 240 sf to each apartment, something unusual in New York City buildings. The space is large enough for a full size dining table, when the weather permits being outside. We also worked hard to ensure modularity. For example, all kitchen units are all identical throughout the building. The idea of modularity and the economy of the repetitive unit is exercised to the maximum through the building. Hardware, appliances, flooring, wall coverings and material finishes are all carefully selected to feel bespoke, high quality and unique. It was important to KURV that the result of this work manifest into something that would deeply connect with the end user and sustain relationships with the consumers of this space. All images by KURV Architecture ©

Located in the heart of Manhattan’s Lower East Side, the building was erected on a shallow commercial lot between two 120 year old masonry buildings and a new residential rental building. 330 Grand Street is a mix of 725 SF 1BRs and 1050 SF 2BR apartments. It also contains a 1100 SF two story duplex as well as private and public rooftop space, large private balconies for most units and two large private terraces for the ground floor units. 330 Grand Street was originally designed and approved at the NYC DOB as a prefabricated modular building. During the pandemic, as shipping costs skyrocketed putting the project at risk, we suggested redesigning the building as a reinforced cast-in-place concrete structure. Concrete was readily available and prices had not been affected by the demand increase that many other materials suffered in the pandemic. We took this opportunity to raise floor to ceiling heights, enlarge high performance windows and redistribute the buildings MEPFS and Structural Systems to create very open floor plans. The challenge was to create a luxurious sensorial living experience with very limited means. In a city with very high construction costs, low cost residential buildings in the area are usually devoid of good quality, design and character. Our approach was to aim high for the end user, prioritizing natural light, open space with long visual perspectives, high ceilings and as always, rejecting the use of predefined building templates. Our biggest challenge was to ensure that the small spaces feel as clean cut, large and bright as possible. Several unique design decisions were made to ensure low cost and high quality; Floor plans were laid out so that spaces were wide open and free of clutter from mechanical or structural interruptions. Therefore all infrastructure was placed in lateral demising walls, which in turn act as the unit’s storage and kitchen. The apartments feel wide open, are super quiet and have more storage space than any other comparable apartment in the city. To solve the problem of the site’s shallow commercial lot which is typically prone to dark interior spaces we focused our attention on the building’s envelope. Instead of the usual small punched window openings, oversized high performance windows were designed to ensure that light penetrated as far as possible into the units. In the smaller 1BR units, the full 50’ depth of the lot is perceived by partitioning spaces with sliding pocket doors that can be retracted to allow deep visual perspectives, making the sight lines in the space feel longer, larger, more ample than normal. In addition to the full height glazing, each unit above the 2nd floor receives a 7 foot covered balcony, adding 120 to 240 sf to each apartment, something unusual in New York City buildings. The space is large enough for a full size dining table, when the weather permits being outside. We also worked hard to ensure modularity. For example, all kitchen units are all identical throughout the building. The idea of modularity and the economy of the repetitive unit is exercised to the maximum through the building. Hardware, appliances, flooring, wall coverings and material finishes are all carefully selected to feel bespoke, high quality and unique. It was important to KURV that the result of this work manifest into something that would deeply connect with the end user and sustain relationships with the consumers of this space. All images by KURV Architecture ©

Located in the heart of Manhattan’s Lower East Side, the building was erected on a shallow commercial lot between two 120 year old masonry buildings and a new residential rental building. 330 Grand Street is a mix of 725 SF 1BRs and 1050 SF 2BR apartments. It also contains a 1100 SF two story duplex as well as private and public rooftop space, large private balconies for most units and two large private terraces for the ground floor units. 330 Grand Street was originally designed and approved at the NYC DOB as a prefabricated modular building. During the pandemic, as shipping costs skyrocketed putting the project at risk, we suggested redesigning the building as a reinforced cast-in-place concrete structure. Concrete was readily available and prices had not been affected by the demand increase that many other materials suffered in the pandemic. We took this opportunity to raise floor to ceiling heights, enlarge high performance windows and redistribute the buildings MEPFS and Structural Systems to create very open floor plans. The challenge was to create a luxurious sensorial living experience with very limited means. In a city with very high construction costs, low cost residential buildings in the area are usually devoid of good quality, design and character. Our approach was to aim high for the end user, prioritizing natural light, open space with long visual perspectives, high ceilings and as always, rejecting the use of predefined building templates. Our biggest challenge was to ensure that the small spaces feel as clean cut, large and bright as possible. Several unique design decisions were made to ensure low cost and high quality; Floor plans were laid out so that spaces were wide open and free of clutter from mechanical or structural interruptions. Therefore all infrastructure was placed in lateral demising walls, which in turn act as the unit’s storage and kitchen. The apartments feel wide open, are super quiet and have more storage space than any other comparable apartment in the city. To solve the problem of the site’s shallow commercial lot which is typically prone to dark interior spaces we focused our attention on the building’s envelope. Instead of the usual small punched window openings, oversized high performance windows were designed to ensure that light penetrated as far as possible into the units. In the smaller 1BR units, the full 50’ depth of the lot is perceived by partitioning spaces with sliding pocket doors that can be retracted to allow deep visual perspectives, making the sight lines in the space feel longer, larger, more ample than normal. In addition to the full height glazing, each unit above the 2nd floor receives a 7 foot covered balcony, adding 120 to 240 sf to each apartment, something unusual in New York City buildings. The space is large enough for a full size dining table, when the weather permits being outside. We also worked hard to ensure modularity. For example, all kitchen units are all identical throughout the building. The idea of modularity and the economy of the repetitive unit is exercised to the maximum through the building. Hardware, appliances, flooring, wall coverings and material finishes are all carefully selected to feel bespoke, high quality and unique. It was important to KURV that the result of this work manifest into something that would deeply connect with the end user and sustain relationships with the consumers of this space. All images by KURV Architecture ©

Located in the heart of Manhattan’s Lower East Side, the building was erected on a shallow commercial lot between two 120 year old masonry buildings and a new residential rental building. 330 Grand Street is a mix of 725 SF 1BRs and 1050 SF 2BR apartments. It also contains a 1100 SF two story duplex as well as private and public rooftop space, large private balconies for most units and two large private terraces for the ground floor units. 330 Grand Street was originally designed and approved at the NYC DOB as a prefabricated modular building. During the pandemic, as shipping costs skyrocketed putting the project at risk, we suggested redesigning the building as a reinforced cast-in-place concrete structure. Concrete was readily available and prices had not been affected by the demand increase that many other materials suffered in the pandemic. We took this opportunity to raise floor to ceiling heights, enlarge high performance windows and redistribute the buildings MEPFS and Structural Systems to create very open floor plans. The challenge was to create a luxurious sensorial living experience with very limited means. In a city with very high construction costs, low cost residential buildings in the area are usually devoid of good quality, design and character. Our approach was to aim high for the end user, prioritizing natural light, open space with long visual perspectives, high ceilings and as always, rejecting the use of predefined building templates. Our biggest challenge was to ensure that the small spaces feel as clean cut, large and bright as possible. Several unique design decisions were made to ensure low cost and high quality; Floor plans were laid out so that spaces were wide open and free of clutter from mechanical or structural interruptions. Therefore all infrastructure was placed in lateral demising walls, which in turn act as the unit’s storage and kitchen. The apartments feel wide open, are super quiet and have more storage space than any other comparable apartment in the city. To solve the problem of the site’s shallow commercial lot which is typically prone to dark interior spaces we focused our attention on the building’s envelope. Instead of the usual small punched window openings, oversized high performance windows were designed to ensure that light penetrated as far as possible into the units. In the smaller 1BR units, the full 50’ depth of the lot is perceived by partitioning spaces with sliding pocket doors that can be retracted to allow deep visual perspectives, making the sight lines in the space feel longer, larger, more ample than normal. In addition to the full height glazing, each unit above the 2nd floor receives a 7 foot covered balcony, adding 120 to 240 sf to each apartment, something unusual in New York City buildings. The space is large enough for a full size dining table, when the weather permits being outside. We also worked hard to ensure modularity. For example, all kitchen units are all identical throughout the building. The idea of modularity and the economy of the repetitive unit is exercised to the maximum through the building. Hardware, appliances, flooring, wall coverings and material finishes are all carefully selected to feel bespoke, high quality and unique. It was important to KURV that the result of this work manifest into something that would deeply connect with the end user and sustain relationships with the consumers of this space. All images by KURV Architecture ©