Photo Credit: ©Tom Holdsworth, A screen porch was added to the side of the interior sitting room, enabling the two spaces to become one. A unique three-panel bi-fold door, separates the indoor-outdoor space; on nice days, plenty of natural ventilation flows through the house. Opening the sunroom, living room and kitchen spaces enables a free dialog between rooms. The kitchen level sits above the sunroom and living room giving it a perch as the heart of the home. Dressed in maple and white, the cabinet color palette is in sync with the subtle value and warmth of nature. The cooktop wall was designed as a piece of furniture; the maple cabinets frame the inserted white cabinet wall. The subtle mosaic backsplash with a hint of green, represents a delicate leaf.

Photo Credit: ©Tom Holdsworth, A screen porch was added to the side of the interior sitting room, enabling the two spaces to become one. A unique three-panel bi-fold door, separates the indoor-outdoor space; on nice days, plenty of natural ventilation flows through the house. Opening the sunroom, living room and kitchen spaces enables a free dialog between rooms. The kitchen level sits above the sunroom and living room giving it a perch as the heart of the home. Dressed in maple and white, the cabinet color palette is in sync with the subtle value and warmth of nature. The cooktop wall was designed as a piece of furniture; the maple cabinets frame the inserted white cabinet wall. The subtle mosaic backsplash with a hint of green, represents a delicate leaf.

5'6" × 7'-0" room with Restoration Hardware "Hutton" vanity (36"w x 24"d) and "Hutton" mirror, sconces by Waterworks "Newel", shower size 36" x 36" with 22" door, HansGrohe "Axor Montreux" shower set. Wall paint is "pearl white" by Pratt & Lambert and wood trim is "white dove" eggshell from Benjamin Moore. Wall tiles are 3"x6" honed, carrara marble with inset hexagonals for the niche. Coved ceiling - walls are curved into a flat ceiling.

Photo Credit: ©Tom Holdsworth, A screen porch was added to the side of the interior sitting room, enabling the two spaces to become one. A unique three-panel bi-fold door, separates the indoor-outdoor space; on nice days, plenty of natural ventilation flows through the house. Opening the sunroom, living room and kitchen spaces enables a free dialog between rooms. The kitchen level sits above the sunroom and living room giving it a perch as the heart of the home. Dressed in maple and white, the cabinet color palette is in sync with the subtle value and warmth of nature. The cooktop wall was designed as a piece of furniture; the maple cabinets frame the inserted white cabinet wall. The subtle mosaic backsplash with a hint of green, represents a delicate leaf.

Photo Credit: ©Tom Holdsworth, A screen porch was added to the side of the interior sitting room, enabling the two spaces to become one. A unique three-panel bi-fold door, separates the indoor-outdoor space; on nice days, plenty of natural ventilation flows through the house. Opening the sunroom, living room and kitchen spaces enables a free dialog between rooms. The kitchen level sits above the sunroom and living room giving it a perch as the heart of the home. Dressed in maple and white, the cabinet color palette is in sync with the subtle value and warmth of nature. The cooktop wall was designed as a piece of furniture; the maple cabinets frame the inserted white cabinet wall. The subtle mosaic backsplash with a hint of green, represents a delicate leaf.

The master bedroom sports an embroidered Nador bed with taupe fabrics. Accent pillows in various shades of gray are blended with fox pillows and a cashmere throw. Vibrant colors from an abstract art piece incites a modern and masculine dialogue.

Located in a neighborhood characterized by traditional bungalow style single-family residences, Orange Grove is a new landmark for the City of West Hollywood. The building is sensitively designed and compatible with the neighborhood, but differs in material palette and scale from its neighbors. Referencing architectural conventions of modernism rather than the pitched roof forms of traditional domesticity, the project presents a characteristic that is consistent with the eclectic and often unconventional demographic of West Hollywood. Distinct from neighboring structures, the building creates a strong relationship to the street by virtue of its large amount of highly usable balcony area in the front façade. While there are dramatic and larger scale elements that define the building, it is also broken down into comprehensible human scale parts, and is itself broken down into two different buildings. Orange Grove displays a similar kind of iconoclasm as the Schindler House, an icon of California modernism, located a short distance away. Like the Schindler House, the conventional architectural elements of windows and porches become part of an abstract sculptural ensemble. At the Schindler House, windows are found in the gaps between structural concrete wall panels. At Orange Grove, windows are inserted in gaps between different sections of the building. The design of Orange Grove is generated by a subtle balance of tensions. Building volumes and the placement of windows, doors and balconies are not static but rather constitute an active three-dimensional composition in motion. Each piece of the building is a strong and clearly defined shape, such as the corrugated metal surround that encloses the second story balcony in the east and north facades. Another example of this clear delineation is the use of two square profile balcony surrounds in the front façade that set up a dialogue between them—one is small, the other large, one is open at the front, the other is veiled with stainless steel slats. At the same time each balcony is balanced and related to other elements in the building, the smaller one to the driveway gate below and the other to the roll-up door and first floor balcony. Each building element is intended to read as an abstract form in itself—such as a window becoming a slit or windows becoming a framed box, while also becoming part of a larger whole. Although this building may not mirror the status quo it answers to the desires of consumers in a burgeoning niche market who want large, simple interior volumes of space, and a paradigm based on space, light and industrial materials of the loft rather than the bungalow.

A daring combination of forms and finishes yielded an exciting contemporary/industrial hybrid. In a converted wedge-shaped factory building, this loft’s quirky shape was celebrated, not disguised. Contrasting flooring demarcates what is, in fact, a literal work triangle. The island’s unusual five-sided shape proudly reiterates the room’s footprint; the three waterfall ends accentuate its one-of-a-kind geometry. Four different materials were chosen to establish a playful dialogue between light, dark, and texture: caramel-stained rift cut oak on open cabinets; matte charcoal gray paint on tall and wall cabinets; brushed bronze oil-rubbed wire mesh inserts for bases; and panels in a laminate resembling knotty weathered wood. White quartz countertops provide a unifying feature. Open cabinets are singular for their asymmetrical placement and, in some spots, open-ended configuration within the tall units. The breathtaking dining table was fashioned from two free-form live edge planks, joined by a ribbon of clear epoxy resin, thus creating the illusion of a stream meandering through fallen trees. Black elements contribute an industrial edge: an open-framed metal wall shelf over the sink; iron table legs; a mix of dining chairs in mid-century wire mesh, molded plastic, and retro aluminum; and machinery castors on the low-slung coffee table. This project was designed by Bilotta Designer Daniel Popescu in collaboration with MeldNYC. Photography is by Nico Arellano.

A daring combination of forms and finishes yielded an exciting contemporary/industrial hybrid. In a converted wedge-shaped factory building, this loft’s quirky shape was celebrated, not disguised. Contrasting flooring demarcates what is, in fact, a literal work triangle. The island’s unusual five-sided shape proudly reiterates the room’s footprint; the three waterfall ends accentuate its one-of-a-kind geometry. Four different materials were chosen to establish a playful dialogue between light, dark, and texture: caramel-stained rift cut oak on open cabinets; matte charcoal gray paint on tall and wall cabinets; brushed bronze oil-rubbed wire mesh inserts for bases; and panels in a laminate resembling knotty weathered wood. White quartz countertops provide a unifying feature. Open cabinets are singular for their asymmetrical placement and, in some spots, open-ended configuration within the tall units. The breathtaking dining table was fashioned from two free-form live edge planks, joined by a ribbon of clear epoxy resin, thus creating the illusion of a stream meandering through fallen trees. Black elements contribute an industrial edge: an open-framed metal wall shelf over the sink; iron table legs; a mix of dining chairs in mid-century wire mesh, molded plastic, and retro aluminum; and machinery castors on the low-slung coffee table. This project was designed by Bilotta Designer Daniel Popescu in collaboration with MeldNYC. Photography is by Nico Arellano.

Located in a neighborhood characterized by traditional bungalow style single-family residences, Orange Grove is a new landmark for the City of West Hollywood. The building is sensitively designed and compatible with the neighborhood, but differs in material palette and scale from its neighbors. Referencing architectural conventions of modernism rather than the pitched roof forms of traditional domesticity, the project presents a characteristic that is consistent with the eclectic and often unconventional demographic of West Hollywood. Distinct from neighboring structures, the building creates a strong relationship to the street by virtue of its large amount of highly usable balcony area in the front façade. While there are dramatic and larger scale elements that define the building, it is also broken down into comprehensible human scale parts, and is itself broken down into two different buildings. Orange Grove displays a similar kind of iconoclasm as the Schindler House, an icon of California modernism, located a short distance away. Like the Schindler House, the conventional architectural elements of windows and porches become part of an abstract sculptural ensemble. At the Schindler House, windows are found in the gaps between structural concrete wall panels. At Orange Grove, windows are inserted in gaps between different sections of the building. The design of Orange Grove is generated by a subtle balance of tensions. Building volumes and the placement of windows, doors and balconies are not static but rather constitute an active three-dimensional composition in motion. Each piece of the building is a strong and clearly defined shape, such as the corrugated metal surround that encloses the second story balcony in the east and north facades. Another example of this clear delineation is the use of two square profile balcony surrounds in the front façade that set up a dialogue between them—one is small, the other large, one is open at the front, the other is veiled with stainless steel slats. At the same time each balcony is balanced and related to other elements in the building, the smaller one to the driveway gate below and the other to the roll-up door and first floor balcony. Each building element is intended to read as an abstract form in itself—such as a window becoming a slit or windows becoming a framed box, while also becoming part of a larger whole. Although this building may not mirror the status quo it answers to the desires of consumers in a burgeoning niche market who want large, simple interior volumes of space, and a paradigm based on space, light and industrial materials of the loft rather than the bungalow.

Located in a neighborhood characterized by traditional bungalow style single-family residences, Orange Grove is a new landmark for the City of West Hollywood. The building is sensitively designed and compatible with the neighborhood, but differs in material palette and scale from its neighbors. Referencing architectural conventions of modernism rather than the pitched roof forms of traditional domesticity, the project presents a characteristic that is consistent with the eclectic and often unconventional demographic of West Hollywood. Distinct from neighboring structures, the building creates a strong relationship to the street by virtue of its large amount of highly usable balcony area in the front façade. While there are dramatic and larger scale elements that define the building, it is also broken down into comprehensible human scale parts, and is itself broken down into two different buildings. Orange Grove displays a similar kind of iconoclasm as the Schindler House, an icon of California modernism, located a short distance away. Like the Schindler House, the conventional architectural elements of windows and porches become part of an abstract sculptural ensemble. At the Schindler House, windows are found in the gaps between structural concrete wall panels. At Orange Grove, windows are inserted in gaps between different sections of the building. The design of Orange Grove is generated by a subtle balance of tensions. Building volumes and the placement of windows, doors and balconies are not static but rather constitute an active three-dimensional composition in motion. Each piece of the building is a strong and clearly defined shape, such as the corrugated metal surround that encloses the second story balcony in the east and north facades. Another example of this clear delineation is the use of two square profile balcony surrounds in the front façade that set up a dialogue between them—one is small, the other large, one is open at the front, the other is veiled with stainless steel slats. At the same time each balcony is balanced and related to other elements in the building, the smaller one to the driveway gate below and the other to the roll-up door and first floor balcony. Each building element is intended to read as an abstract form in itself—such as a window becoming a slit or windows becoming a framed box, while also becoming part of a larger whole. Although this building may not mirror the status quo it answers to the desires of consumers in a burgeoning niche market who want large, simple interior volumes of space, and a paradigm based on space, light and industrial materials of the loft rather than the bungalow.

Located in a neighborhood characterized by traditional bungalow style single-family residences, Orange Grove is a new landmark for the City of West Hollywood. The building is sensitively designed and compatible with the neighborhood, but differs in material palette and scale from its neighbors. Referencing architectural conventions of modernism rather than the pitched roof forms of traditional domesticity, the project presents a characteristic that is consistent with the eclectic and often unconventional demographic of West Hollywood. Distinct from neighboring structures, the building creates a strong relationship to the street by virtue of its large amount of highly usable balcony area in the front façade. While there are dramatic and larger scale elements that define the building, it is also broken down into comprehensible human scale parts, and is itself broken down into two different buildings. Orange Grove displays a similar kind of iconoclasm as the Schindler House, an icon of California modernism, located a short distance away. Like the Schindler House, the conventional architectural elements of windows and porches become part of an abstract sculptural ensemble. At the Schindler House, windows are found in the gaps between structural concrete wall panels. At Orange Grove, windows are inserted in gaps between different sections of the building. The design of Orange Grove is generated by a subtle balance of tensions. Building volumes and the placement of windows, doors and balconies are not static but rather constitute an active three-dimensional composition in motion. Each piece of the building is a strong and clearly defined shape, such as the corrugated metal surround that encloses the second story balcony in the east and north facades. Another example of this clear delineation is the use of two square profile balcony surrounds in the front façade that set up a dialogue between them—one is small, the other large, one is open at the front, the other is veiled with stainless steel slats. At the same time each balcony is balanced and related to other elements in the building, the smaller one to the driveway gate below and the other to the roll-up door and first floor balcony. Each building element is intended to read as an abstract form in itself—such as a window becoming a slit or windows becoming a framed box, while also becoming part of a larger whole. Although this building may not mirror the status quo it answers to the desires of consumers in a burgeoning niche market who want large, simple interior volumes of space, and a paradigm based on space, light and industrial materials of the loft rather than the bungalow.

The four story townhouse at 67 Charles is situated on a charming tree lined block in the heart of the original Greenwich Village Historic District. Originally constructed as one of a series of three rowhouses in 1867 by Bartlett Smith, the brownstone facade and painted wood cornice is a typical example of the French Second Empire style common to rowhouses built in that period. While the front facade has remained relatively unchanged throughout the building’s history, the interior has seen several renovations throughout the years which were less than kind to its historic bones. Several historic details on the parlor level including base and crown mouldings, a ceiling medallion, and fireplace mantles throughout the house had managed to survive. These historic elements were very dear to the clients, yet they also recognized the value of contemporary space planning, details, and amenities. Their design directive to TCA was threefold: to preserve these historic elements; to create a dialogue between these preserved elements and a decidedly contemporary envelope; and to create a functioning layout complete with modern amenities that would serve the family into the future. In response, TCA created an architectural language to highlight the moments where old and new would interact. Original base and crown mouldings appear to pass through glass entry vestibules at both the garden and parlor levels. Recessed metal reveals encircle the perimeter of preserved fireplace mantles demarcating old and new. A modern chandelier is juxtaposed against a restored ceiling medallion. Door jambs lined in non-directional stainless steel discreetly celebrate the use of contemporary reveals, without diminishing the texture and finesse that the owners so cherished in the preserved original mouldings. The new home demonstrates at every scale how the old and new can complement and enhance each other.

Located in a neighborhood characterized by traditional bungalow style single-family residences, Orange Grove is a new landmark for the City of West Hollywood. The building is sensitively designed and compatible with the neighborhood, but differs in material palette and scale from its neighbors. Referencing architectural conventions of modernism rather than the pitched roof forms of traditional domesticity, the project presents a characteristic that is consistent with the eclectic and often unconventional demographic of West Hollywood. Distinct from neighboring structures, the building creates a strong relationship to the street by virtue of its large amount of highly usable balcony area in the front façade. While there are dramatic and larger scale elements that define the building, it is also broken down into comprehensible human scale parts, and is itself broken down into two different buildings. Orange Grove displays a similar kind of iconoclasm as the Schindler House, an icon of California modernism, located a short distance away. Like the Schindler House, the conventional architectural elements of windows and porches become part of an abstract sculptural ensemble. At the Schindler House, windows are found in the gaps between structural concrete wall panels. At Orange Grove, windows are inserted in gaps between different sections of the building. The design of Orange Grove is generated by a subtle balance of tensions. Building volumes and the placement of windows, doors and balconies are not static but rather constitute an active three-dimensional composition in motion. Each piece of the building is a strong and clearly defined shape, such as the corrugated metal surround that encloses the second story balcony in the east and north facades. Another example of this clear delineation is the use of two square profile balcony surrounds in the front façade that set up a dialogue between them—one is small, the other large, one is open at the front, the other is veiled with stainless steel slats. At the same time each balcony is balanced and related to other elements in the building, the smaller one to the driveway gate below and the other to the roll-up door and first floor balcony. Each building element is intended to read as an abstract form in itself—such as a window becoming a slit or windows becoming a framed box, while also becoming part of a larger whole. Although this building may not mirror the status quo it answers to the desires of consumers in a burgeoning niche market who want large, simple interior volumes of space, and a paradigm based on space, light and industrial materials of the loft rather than the bungalow.

Located in a neighborhood characterized by traditional bungalow style single-family residences, Orange Grove is a new landmark for the City of West Hollywood. The building is sensitively designed and compatible with the neighborhood, but differs in material palette and scale from its neighbors. Referencing architectural conventions of modernism rather than the pitched roof forms of traditional domesticity, the project presents a characteristic that is consistent with the eclectic and often unconventional demographic of West Hollywood. Distinct from neighboring structures, the building creates a strong relationship to the street by virtue of its large amount of highly usable balcony area in the front façade. While there are dramatic and larger scale elements that define the building, it is also broken down into comprehensible human scale parts, and is itself broken down into two different buildings. Orange Grove displays a similar kind of iconoclasm as the Schindler House, an icon of California modernism, located a short distance away. Like the Schindler House, the conventional architectural elements of windows and porches become part of an abstract sculptural ensemble. At the Schindler House, windows are found in the gaps between structural concrete wall panels. At Orange Grove, windows are inserted in gaps between different sections of the building. The design of Orange Grove is generated by a subtle balance of tensions. Building volumes and the placement of windows, doors and balconies are not static but rather constitute an active three-dimensional composition in motion. Each piece of the building is a strong and clearly defined shape, such as the corrugated metal surround that encloses the second story balcony in the east and north facades. Another example of this clear delineation is the use of two square profile balcony surrounds in the front façade that set up a dialogue between them—one is small, the other large, one is open at the front, the other is veiled with stainless steel slats. At the same time each balcony is balanced and related to other elements in the building, the smaller one to the driveway gate below and the other to the roll-up door and first floor balcony. Each building element is intended to read as an abstract form in itself—such as a window becoming a slit or windows becoming a framed box, while also becoming part of a larger whole. Although this building may not mirror the status quo it answers to the desires of consumers in a burgeoning niche market who want large, simple interior volumes of space, and a paradigm based on space, light and industrial materials of the loft rather than the bungalow.

A bath intervention insert in marvelous scenery of Dialogue House, an incredible project sited at the base of Echo Mountain. The Dialogue House was conceived as two volumes of light – one warm and one cool – one focused outward to the expansive horizon and one upward toward the canopy of the desert sky. A five-sided box of light with no apparent thickness floating above and within the dark desert landscape with only the apparent thinness of light supporting the space to be lived in. The home is projected south toward the South Mountain and Sierra Estrella Mountain ranges far across the Phoenix basin and the downtown skyline. “With this bathroom renovation – Wendell Burnette Architects – we sought a product that would work in harmony with the existing wood and stone floors in the rest of the house and at the same time add textural and visual interest to the design. Bianco Avorio – with its nuanced, refined character – proved to be that product. The slot skylight reveals the tactile quality of the stone. And its natural beauty and calm, uniform color expand the sense of space within a relatively small footprint” Wendell Burnette Architects is an internationally recognized architectural practice based in Phoenix, Arizona. Their portfolio of work includes a wide range of private and public projects. The specific focus of the practice is concerned with space and light, context and place, and with the environment and landscapes in which we live. The architecture of the firm responds to the specifics of site and client needs, is resourceful in regards to budget, takes a pro-active approach to the craft of building, and strives to create spaces that engage people.

The living room furniture and color scheme further elaborate the apartments sophisticated aura. Modern sofas and side chars are swathed in William Morris fabrics in muted grays and pinks with contrasting welting. The modern side and coffee tables are complemented by a Hoffmann plant stand nestled in one corner. The color scheme consists of mauves and grays, giving the living room, foyer, and dining room a warm glow. A deep mauve accent paint is used to delineate the modern architectural insertions, enhancing he dialogue between old and new. The softly textured soft pink / mauve wall to wall carpeting highlights the subtly mixed textures used throughout.

Located in a neighborhood characterized by traditional bungalow style single-family residences, Orange Grove is a new landmark for the City of West Hollywood. The building is sensitively designed and compatible with the neighborhood, but differs in material palette and scale from its neighbors. Referencing architectural conventions of modernism rather than the pitched roof forms of traditional domesticity, the project presents a characteristic that is consistent with the eclectic and often unconventional demographic of West Hollywood. Distinct from neighboring structures, the building creates a strong relationship to the street by virtue of its large amount of highly usable balcony area in the front façade. While there are dramatic and larger scale elements that define the building, it is also broken down into comprehensible human scale parts, and is itself broken down into two different buildings. Orange Grove displays a similar kind of iconoclasm as the Schindler House, an icon of California modernism, located a short distance away. Like the Schindler House, the conventional architectural elements of windows and porches become part of an abstract sculptural ensemble. At the Schindler House, windows are found in the gaps between structural concrete wall panels. At Orange Grove, windows are inserted in gaps between different sections of the building. The design of Orange Grove is generated by a subtle balance of tensions. Building volumes and the placement of windows, doors and balconies are not static but rather constitute an active three-dimensional composition in motion. Each piece of the building is a strong and clearly defined shape, such as the corrugated metal surround that encloses the second story balcony in the east and north facades. Another example of this clear delineation is the use of two square profile balcony surrounds in the front façade that set up a dialogue between them—one is small, the other large, one is open at the front, the other is veiled with stainless steel slats. At the same time each balcony is balanced and related to other elements in the building, the smaller one to the driveway gate below and the other to the roll-up door and first floor balcony. Each building element is intended to read as an abstract form in itself—such as a window becoming a slit or windows becoming a framed box, while also becoming part of a larger whole. Although this building may not mirror the status quo it answers to the desires of consumers in a burgeoning niche market who want large, simple interior volumes of space, and a paradigm based on space, light and industrial materials of the loft rather than the bungalow.

Located in a neighborhood characterized by traditional bungalow style single-family residences, Orange Grove is a new landmark for the City of West Hollywood. The building is sensitively designed and compatible with the neighborhood, but differs in material palette and scale from its neighbors. Referencing architectural conventions of modernism rather than the pitched roof forms of traditional domesticity, the project presents a characteristic that is consistent with the eclectic and often unconventional demographic of West Hollywood. Distinct from neighboring structures, the building creates a strong relationship to the street by virtue of its large amount of highly usable balcony area in the front façade. While there are dramatic and larger scale elements that define the building, it is also broken down into comprehensible human scale parts, and is itself broken down into two different buildings. Orange Grove displays a similar kind of iconoclasm as the Schindler House, an icon of California modernism, located a short distance away. Like the Schindler House, the conventional architectural elements of windows and porches become part of an abstract sculptural ensemble. At the Schindler House, windows are found in the gaps between structural concrete wall panels. At Orange Grove, windows are inserted in gaps between different sections of the building. The design of Orange Grove is generated by a subtle balance of tensions. Building volumes and the placement of windows, doors and balconies are not static but rather constitute an active three-dimensional composition in motion. Each piece of the building is a strong and clearly defined shape, such as the corrugated metal surround that encloses the second story balcony in the east and north facades. Another example of this clear delineation is the use of two square profile balcony surrounds in the front façade that set up a dialogue between them—one is small, the other large, one is open at the front, the other is veiled with stainless steel slats. At the same time each balcony is balanced and related to other elements in the building, the smaller one to the driveway gate below and the other to the roll-up door and first floor balcony. Each building element is intended to read as an abstract form in itself—such as a window becoming a slit or windows becoming a framed box, while also becoming part of a larger whole. Although this building may not mirror the status quo it answers to the desires of consumers in a burgeoning niche market who want large, simple interior volumes of space, and a paradigm based on space, light and industrial materials of the loft rather than the bungalow.