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A relaxed approach to contemporary coastal style brings a sense of ease to this Palm Beach estate. Cocktail dresses and formally arranged table settings are one way to throw a party, but sometimes entertaining is about inviting your guests to kick their feet up on the ottoman, throwing open the French doors to welcome in the breeze, and sharing wine and conversation while you chop vegetables at the kitchen island.That laidback—yet still elegant—approach to entertaining is exactly what interior designer Jennifer Knowles envisioned when she outfitted the interiors of this waterfront Florida home built by Malasky Homes. “Palm Beach has very classic leanings, and the people here love to entertain,” Knowles says. “We wanted to be in keeping with that classic approach while bridging the gap between casual and formal.” The inviting atmosphere begins at the front entrance, where guests are greeted by a “welcoming arms” staircase, a hallmark of the Bermudan architectural style that defines the home’s exterior. Inside, lengthy rooms, such as the 32-foot-long formal living room, are divided into intimate groupings to facilitate conversation. Generous windows, French doors, and balconies offer remarkable views of the Intracoastal Waterway on three sides and welcome the Florida sunshine into every room. “The entire house truly is awash in light,” Knowles says. “It doesn’t matter what time of day you’re there.” Rich millwork details and intricate ceiling treatments draw the eye upward to visually expand relatively low ceilings, a height requirement set by Palm Beach’s architectural review board. In fact, the first-floor ceilings top off at just a little under 10 feet, but exquisite millwork—such as the Art Deco-inspired pattern on the living room ceiling—stretches the visual height of rooms. Though the details are elaborate, Knowles achieved a crisp, clean look by painting each ceiling white. Walnut herringbone floors and tailored furnishings reinforce the home’s classic sensibility, while dashes of modern flair, supplied by abstract art and polished-nickel accents, prevent the home from feeling too traditional. “Mixing contemporary touches with classic lines keeps it fresh and timeless,” Knowles says. The result is a home that effortlessly toggles between black-tie events and impromptu gatherings with friends. “You’re sitting on the sofa looking out to the pool, then beyond to the water and the beautiful boats,” Knowles says. “You put your feet up on the upholstered ottoman and you just don’t want to leave.  

A thoughtful renovation finds the sweet spot between architectural heritage and modern-day convenience. Ben and Jenna Sietsema’s newly purchased 1921 Dutch Colonial had a lot going for it— especially if you didn’t venture inside. Located on a channel between two lakes and backing up to 12 acres of wooded park, the house with its barnlike gambrel roof and flared eaves turned heads in an East Grand Rapids, Michigan, neighborhood of traditionalstyle homes. “The lines of the home were just terrific, so the goal was to keep the exterior as close to the original as possible while updating the interiors,” says interior designer Jean Stoffer, who teamed with architect Jeff Visser on the project.The directives: Play up the farmhouse feel in a light-filled, modern way and connect the interiors with their nature-rich surrounds. New shutters, copper gutters, asphalt shingles, and a front porch honor the architecture’s roots, while a fresh coat of black paint on the rebuilt sunroom and window muntins provides a subtle modern twist. Determined to minimize additions, Visser bumped out the garage to add a large mudroom, then reconfigured space (including a large 1990s addition) to improve flow. Updating the back exterior with three sets of French doors, a screen porch, and an outdoor kitchen achieved the couple’s desire to better engage the house with the land. Inside, Stoffer balanced requests for welcoming, kid-friendly spaces with Jenna’s modern preferences and Ben’s rustic bent. Reclaimed beams kick-started the design, bringing a warmth that made Ben and Jenna feel at home. Engineered European white-oak floors, worryfree quartz countertops, and fingerprint-disguising navy kitchen cabinetry bolster a stylish yet carefree mood. Throughout the home, design dances between classic and modern. Inset flat-panel kitchen cabinetry, wall moldings, and a limestone fireplace keep one foot in the past; a stunning waterfall countertop, a mix of dazzling light fixtures, and a palette of charcoals, blues, and greens move to a more contemporary beat. “What we really enjoy about the house is that it’s sophisticated in some ways, yet at the end of the day it is warm and practical—not pretentious,” Ben says.

Designer Brian Gluckstein outdoes himself with a must-see showhome that holdsthe promise of life well lived. Like the glamorous lead in a classic Hollywood film,this year’s Princess Margaret Cancer Centre Home Lottery Showhome makes an alluring firstimpression: it greets you in a dramatic fashion and dazzles you with gorgeous looks, butis careful notto give away too much,too fast. From the extratall foyer justinside the front door, a tiger-print rug worthy of Lana Turner can be glimpsed in the home office across the hallway. “It’s similar to a carpet I had in my New York City apartment years ago,” says designer Brian Gluckstein. The scene beckons visitors forward untilthe 6,700-square-foot home’s elegant main floor is revealed through a procession of grey-trimmed archways. “The house is quite open, but I didn’t want you to see everything as soon as you walk in,” says Brian. In design, as in the movies, a little mystery goes a long way. Set on a corner lotin a leafy neighbourhood of south Oakville, Ont.,the five-bedroom,two-storey house is loosely inspired by French Normandy style. In less than eight months, Brian expertly tempered the interior’s open layout by creating defined living spaces with purpose. He pulled in some walls (to create a centre courtyard) and pushed out others (the great room is generously sized and self-contained), varied ceiling heights and balanced bright, lofty spaces with cosy, moodier rooms. Nearly every surface received its own treatment, from washable murals in the kitchen to a grey wall covering on the dining room ceiling to graphic floor tiles in the foyer. Grey-washed white oak floors with a scraped finish quietly tie together the showstopping elements.

Designer Brian Gluckstein outdoes himself with a must-see showhome that holdsthe promise of life well lived. Like the glamorous lead in a classic Hollywood film,this year’s Princess Margaret Cancer Centre Home Lottery Showhome makes an alluring firstimpression: it greets you in a dramatic fashion and dazzles you with gorgeous looks, butis careful notto give away too much,too fast. From the extratall foyer justinside the front door, a tiger-print rug worthy of Lana Turner can be glimpsed in the home office across the hallway. “It’s similar to a carpet I had in my New York City apartment years ago,” says designer Brian Gluckstein. The scene beckons visitors forward untilthe 6,700-square-foot home’s elegant main floor is revealed through a procession of grey-trimmed archways. “The house is quite open, but I didn’t want you to see everything as soon as you walk in,” says Brian. In design, as in the movies, a little mystery goes a long way. Set on a corner lotin a leafy neighbourhood of south Oakville, Ont.,the five-bedroom,two-storey house is loosely inspired by French Normandy style. In less than eight months, Brian expertly tempered the interior’s open layout by creating defined living spaces with purpose. He pulled in some walls (to create a centre courtyard) and pushed out others (the great room is generously sized and self-contained), varied ceiling heights and balanced bright, lofty spaces with cosy, moodier rooms. Nearly every surface received its own treatment, from washable murals in the kitchen to a grey wall covering on the dining room ceiling to graphic floor tiles in the foyer. Grey-washed white oak floors with a scraped finish quietly tie together the showstopping elements.

A large single-storey extension and some careful replanning has unlocked the potential of Lizzy and Ricky Stringer’s terrace. Like many London buyers, Lizzy and Ricky Stringer could only step up the property ladder by taking on a project. Having already moved the bathroom upstairs and created a bigger kitchen in their previous home, they were keen to renovate again on a larger scale when a Victorian villa came up for sale in Dulwich. ‘I looked past the dated decor and noticed the high ceilings, generous room sizes and beautiful wide staircase,’ says Lizzy. ‘I knew we could strip everything back and start again.’ As they wanted to get the work done straight away, the plans were drawn up during the buying process. ‘We submitted them the day after we exchanged contracts,’ says Lizzy, ‘and the builders started upstairs while we waited for planning permission.’ Luckily, the couple were able to rent a friend’s flat nearby for four months, visiting the site three times a week. Work started in summer 2018, with damaged picture and dado rails replaced and reclaimed fireplaces sourced for the bedrooms, while new wood-effect sash windows replicated the originals. ‘Unfortunately, the only thing that is original is the brown stone fire surround in the snug,’ says Lizzy. The rear section of the house has been remodelled by knocking together the kitchen and dining room, demolishing the lean-to and extending into the side return and rear garden to create a 30ft kitchen-diner with a new utility room and downstairs cloakroom. In the master bedroom, the original floorboards were restored and a reclaimed fireplace was installed, along with panelling and bespoke alcove wardrobes. ‘We tried to bring it back to the period,’ says Lizzy. ‘Our builder did a great job with the panelling, which he recreated from Pinterest pictures I showed him.’ Reconfiguring the layout of the bathroom, which had a shower over the bath, proved challenging. ‘We spent a long time in there with the builder and a tape measure but couldn’t work out how to fit in a walk-in shower and a freestanding bath,’ says Lizzy. ‘In the end, we had to move the door.’ When it came to the decor, Lizzy describes her style as classic London chic. ‘I love places like Soho Home, so have bought pieces from its collection, such as its Burleigh pottery,’ she says. ‘The neutral tones at Daylesford’s cottages and spa retreat have also given me ideas for the soft greys and whites in the sitting room. However, I think you can go a bit more dramatic in smaller spaces like I’ve done with the bathroom.’ Although the project was completed on time, there were several issues that pushed the couple over their budget. ‘We had to replace all the rotten joists and flooring in the hallway and sitting room, and it cost extra to reroute the pipework to a new manhole cover in the garden,’ explains Lizzy. ‘We also invested in a new front door as the stained glass fell out of the flimsy original one, and we spent a bit more than initially planned on the kitchen and on good-quality windows.’ Despite the overspend, the couple are pleased with their finished home. ‘I love how quiet and private it is at the back of the house, and the new space is great for New Year’s Eve parties and summer barbecues,’ says Lizzy. ‘We’re lucky enough to have parking, which is unusual for London, so it’s ideal for commuting. The area is lovely with lots going on, so we don’t see ourselves moving anytime soon.

Sam and Guy Dawson have lived a back and forth life together for the past 14 years. Guy’s work as a non-executive director means being based in London, and Sam had ties to Hove where she lived with her children, Holly and Charlie, now 22 and 20. When the couple bought this Victorian London townhouse four years ago, a Bob Dylan print in an art gallery sparked Sam’s decorating ideas. ‘I instantly loved its blend of dusky pinks, deep purples and blues – and these colours became the inspiration for our whole house,’ she says. ‘I’m amused that the print is called Train Tracks, as it aptly portrays my life travelling to and from London to see Guy.’ For a couple of years, the artwork sat in Sam’s Hove home while she and Guy renovated the London property. Although the house had been extended, it was narrow and they wanted to maximise the space. The lower ground floor was a main focus, with no flow between the kitchen, dining room and family room. Sam got in touch with Woodmans Construction, who had worked on the couple’s previous house projects. ‘The team have always been faultless so there was no doubt we’d use them,’ says Sam. The owner suggested contacting Granit Architecture for expert space-planning, and they advised knocking through walls and rotating the staircase to enlarge the kitchen. ‘It was a fantastic solution,’ says Sam. ‘Now we walk down into the family room and see straight into the garden, with a glass balustrade making the space feel open.’ Granit’s architects and interiors team also advised on the configuration and design of the kitchen, a bespoke build by River Woodwork, and enlarged the master en suite with joinery custom designed and built to fit the space. When it came to planning the decoration, Sam and Guy called on Ingrid Parnis of Equilibrio Interiors, a designer they knew from holidays in Portugal. ‘I’ve always been drawn to colour and patterned fabrics, but with so much choice, I’ve played it safe,’ says Sam. ‘I’d seen Ingrid’s approach in friends’ holiday houses and love the way she uses bright tones to bring a space to life – it makes rooms feel fresh and light.’ Straight away, Sam showed the Bob Dylan print to Ingrid, who suggested a selection of contemporary print upholstery fabrics drawing on the purples and pinks in the picture. ‘One of Ingrid’s choices was the same fabric I had used for curtains before, but in a different colourway,’ explains Sam. ‘I was delighted as it was clear that Ingrid was exactly on my wavelength.’ Design talks continued as the house was stripped back, and a friend suggested Sam contact Farrow & Ball colour consultant Joa Studholme to help choose paintshades. ‘Joa has a brilliant eye for the nuance of colours,’ says Sam. ‘She looked at each room, the light and the fabrics and then put together a colour specification for the whole house.’ When Sam and Guy moved back into their home 18 months later, all the work was complete. ‘Ingrid has a fantastic team who do everything, even hanging the curtains – it’s all very seamless,’ says Sam. ‘The colours and furniture make this house feel so much more contemporary and more “like me” than any other place I’ve lived in,’ she adds. ‘Downstairs seems significantly bigger – some of our friends think we extended – but we’re simply using every inch of space we already had.

EVOLUTION Though still recognizable initially look, the long-lasting Eames chair is dynamical to suit each home and elegance.  When the house decorator couple initial began planning chairs for bandleader Miller piece of furniture within the late Nineteen Forties, they targeted their styles on comfort, fashion and affordability. However, the married couple’s most famed innovation focused around luxury for then modern homes, resulting in its inevitable placement in museums all over the world. As a piece created when WWII, the Eames chair reflects a time of “waste not, need not” whereas still adding aptitude and elegance to any area. Charles house decorator and his spouse, Ray, needed to produce a chair that had “the heat, receptive look of a well-used initial baseman’s mitt.  ”To win this, the combine used fine animal skin for the seat cushions, support and ottoman. These cushions, rather than being fastened or nailed down, square measure connected to the sinusoidal wood by a zipper that adheres to a stiff plastic backing. The Eames chair has 3 sinusoidal laminate shells that structure the headrest, support and seat base. once production initial began in 1956, a veneer of Brazilian rosewood lined the 5 ironed layers of laminate to administer the chair the air of luxury; currently, thanks to accessibility, the veneer is primarily finished with cherry, walnut or Palisander rosewood. “This handsome chair is in real time recognizable by anyone with an eye fixed for modern piece of furniture,” says Dana Romeis of chateau style. The house decorator chair has stood the take a look at of time with its unchanged look and most comfort, acting as a centerpiece for homes and offices for the past sixty years. You might even acknowledge the house decorator chair from its unnumberable appearances in movies and tv shows. however recently, the Eames chair has been hunting some changes to form it work a lot of well during a trendy home. “Historically, its charm is in its classic masculine kind, finishes and feet-up comfort,” Romeis comments. “The recent addition of a pale ash frame with ivory animal skin instead of walnut and black animal skin makes it instantly a lot of female. This softer feel will slide right into a lighter, airy room.” With such a big amount of choices accessible these days, style connoisseurs and relaxation-lovers alike will notice the right Eames chair for his or her house.