My 2026 DIY Resolution Is to Commit to a Gallery Wall

It’s a classic for a reason.

I often find myself admiring well-staged photos of tastefully arranged and resolutely simple living spaces; intellectually, I understand the appeal of several harmonious shades of beige. But my ideal scenario is much, much different: pure aesthetic chaos.

Over and over again, I’m drawn resolutely toward dizzying maximalism. Outdoors, I prefer a cottage garden to almost anything; inside, I like innumerable layers of colors and textures. Bold rugs with rich, dense patterns; gingham linens; kooky-shaped velvet sofas; centuries-old British farmhouses with wooden rafters so low they graze your head; tartan wool blankets; aggressive wallpaper patterns; pressed-tin ceilings; weird lamps and funny little items sourced from thrift stores. Picture a 17th-century painting full of paintings, or perhaps Sir John Soane’s house.

In reality, in such a space, I would find myself overstimulated to the point of vibrating clear out of my skin. The question is how to tap that feeling of abundance, without letting it take over. Enter the gallery wall, which presents an opportunity to play with the chaos that I enjoy—but firmly within guardrails.

Unfortunately, I always collapse a bit in the face of the steps involved. First you have to pick the wall, then you have to choose (or worse, acquire) the art, then you have to frame the art, then you have to figure out how to arrange all that art, then—God help me—you have to get out a hammer and a level. It’s not that I’m incapable of tackling a complex project with a lot of stages, it’s just that such things have to be crammed in around the complex project with a lot of stages that I’ve already committed myself to for 18 years, i.e., parenting.

And yet, I always find myself back on Pinterest, pinning photo after photo of cheerfully crowded walls, the opposite of my blank, boring walls (or worse, the half-assed ones). Clearly, it’s time.

Part of the problem is that I need a greater variety of stuff to put on the wall, but my time and budget are both limited. I’d like to solve this problem with some of the ephemera I’ve collected over the years. Recently, for instance, a piece of paper fluttered out of a secondhand cookbook—an orange piece of Doubleday stationery with the relevant publication details. I have so many similar things tucked into drawers: postcards, vintage prints, bookmarks from every bookstore I’ve ever visited, covers from old Harlequin paperbacks, family photos from back when we still developed film. All of it could be tucked into frames. (Though I’ll always regret the ephemera I didn’t snag while I could—why didn’t I think to grab a placemat from Astoria’s Neptune Diner while it was still in business?)

If I were to frame it all professionally, it would cost a small fortune. But I don’t have to. A close friend DIYed her own gallery wall by simply buying up every nice-looking frame containing hideous art she spotted at thrift stores and replacing the picture, then taping up the back, which nobody sees. Custom mats are widely available on Etsy for a nice polished look, too. I have all the pieces at hand—I just need to do it. And this year I will. What else are long January weekends for?

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These Are the Home Design Trends That Will Rule 2026

Experts we talked to said they were done with white minimalism, and looking forward to ornamentation, tactility, and even a connection with the cosmic.

A private residence in Brooklyn, NY, by Hans Lorei that embraces a moody palette.

In 2026, one big looming question within design—and well outside of it—is how artificial intelligence will shape the future. But designers and other industry experts we spoke with seem certain that even as the powerful but still-unruly tech plays a yet larger role in our lives, homes will go in the opposite direction, becoming refuges that support connection not with screens or computer-generated thought, but with one another.

Some say that sentiment will be supported by a movement away from anything white, including Pantone’s 2026 color of the year, as well as sterile minimalism. In its place will come interiors that feel warmer, darker, and more expressive, ones that favor moody atmosphere over brightness and tactility over seamless finishes. Midcentury aesthetics might prevail, but not in the bleached Scandinavian or American style that has dominated in the past.

This emphasis on something warmer and more human-centered is matched by a broader rethinking of values, too: What is lost when technology is relied on too heavily? some are asking; sustainability is still a refrain, but now with a deeper consideration for the circularity of materials and the possibilities of re-use; others are questioning what inclusivity should mean going forward, casting a critical eye on tokenism and calling for more intention and accountability when elevating unheard voices in the design world.

Here’s what five design experts loved about 2025, what they’re definitely ready to let go of, and the trends they think will define 2026.

Mike McMahon—Mike McMahon Studio

Loved It: Ornamentation

After years of restraint, ornamentation is making its way back into architecture, says London architect Mike McMahon. This renewed interest reflects a desire for buildings that engage the senses. "Ornamentation is making a comeback, with designers turning to sculpted brickwork and patterned facades to bring buildings to life," he says. "Our [installation] at the Hampton Court Palace Garden Festival and the fluted brick facade at Royalty Studios in Notting Hill both explore this renewed appetite for tactile, expressive surfaces."

A rendering of Royalty Studios in Notting Hill by Mike McMahon Studios, which is a refurbishment and renovation of a 1980s office building. The architects have added a "contemporary crown

A proposed renovation of Royalty Studios in Notting Hill by Mike McMahon Studios features a "contemporary crown" with a fluted, tactile wall.

Mike McMahon Studio

McMahon also sees a shift toward more low-impact, sustainable innovation among manufacturers and material suppliers. For his installation at U.K.’s Hampton Court, for example, the studio used Kenoteq’s K-Briq, a masonry unit made from more than 95 percent recycled construction waste.

McMahon says the K-Briq masonry units show "how circular materials can slot seamlessly into contemporary design."

photo by Gary Morrisroe

Hated It: AI Shortcuts

While AI is becoming increasingly visible across the design world, McMahon is wary of how quickly it’s being used as a substitute for architectural thinking. "Social media is flooded with AI-generated designs, and while the technology clearly has its place, its influence on architecture is more complicated," he says. "When it’s used as a shortcut to ‘design’ buildings, the results tend to feel flat and soulless, missing the nuance, intuition, and humanity that real spaces need."

My son as a Sim, with another house too close to mine.

In a story for Dwell, writer Leslie Horn Peterson used YardAI by Yardzen—an AI-powered landscape-design tool—to reimagine her own yard, with mixed results.

Photo:

See the full story on Dwell.com: These Are the Home Design Trends That Will Rule 2026

These Are Dwell’s Most Popular Real Estate Stories of 2025

The year’s top listings include a Frank Lloyd Wright gem, Bob Dylan’s Harlem residence, and Burt Reynolds’s mountain cabin.

Frank Lloyd Wright protégé Jim Fox used wood, glass and stone to build the monumental residence in the Blue Ridge Mountains.

From a Taos Earthship to a sky-blue Bay Area Eichler and a 19th-century Ontario mill (complete with waterfall), 2025’s most popular real estate articles spanned a wide range of styles, locations, and price points. What connected them, however, was a good story: Almost all the homes have a history that’s out of the ordinary.

Some were designed by iconic architects such as Frank Lloyd Wright and Rudolph Schindler. Others had a star turn—like the apartment Bob Dylan lived in while recording his World Gone Wrong album or a home featured in the Netflix series Nobody Wants This. And some were deeply personal projects, like a New York farmhouse renovated by a mother-son duo or a decades-old family home in the Pacific Northwest that hit the market for the first time. 

In 2025 we also launched Ask a Realtor, an advice column about the ins and outs of home finding, renting, buying, and selling from expert Douglas Elliman real estate agent Nicole Reber. (Have a question? Submit it here.)

Frank Lloyd Wright’s Weisblat House Hit the Market for $2.2M

The house is made of concrete and mahogany, two materials Wright relied on across his work.

Like many of Wright’s homes, the Weisblat House is appointed with custom-built furniture, shelving, and cabinetry.

Photo by Andy Schwartz

Listed for the second time ever, the Weisblat House is set in the Acres, a landmark Michigan community designed by the famed architect.

Listed for the second time ever, the Weisblat House is set in the Acres, a landmark Michigan community designed by the famed architect.

Photo by Andy Schwartz

Frank Lloyd Wright protégé Jim Fox used wood, glass and stone to build the monumental residence in the Blue Ridge Mountains.

This Blue Ridge Mountain home also has a Frank Lloyd Wright connection—it was designed by Jim Fox, one of his protégés.

Photo by Bryan Lopez

See the full story on Dwell.com: These Are Dwell’s Most Popular Real Estate Stories of 2025

The Year L.A. Burned

2025 was quickly marked by a climate-fueled disaster that ravaged much of my community in Altadena. The path forward has connected us far outside of the devastated zones.

It was incredibly windy in Altadena, California, on January 7. We’d known the Santa Anas were coming—the news and neighbors had been touting it for days—but the 60- to 80 mile-per-hour gusts still felt jarring. Trees, branches, and power lines were down all over the neighborhood and I spent the day worrying that one could come crashing through the roof of my home office at any minute. When the Palisades Fire kicked off on L.A.’s west side, I turned on the news in the background while I wrote, watching as Steve Guttenberg evacuated his neighbors and the LAFD tried to battle the quickly moving blaze.

Around 4 p.m., the afterschool program at my kids’ school sent a message: Things were getting too hairy on campus and they suggested parents come snag their kids if possible. I laughed—the winds were scary, but Californians also tend to make a big deal out of even the most minor weather change, from a slight drizzle to chill in the air. The fire was in the Palisades, I thought, and the kids would be fine. They’d stay inside, do homework, and they’d have a story to tell later.

I finally grabbed my kids around 5:30 p.m.—30 minutes earlier than I typically broke them out of afterschool, because I’m not a total monster—and made the quick trip home. Twenty or so minutes later, our house and street plunged into darkness. The power had gone out. A quick trip to the neighborhood WhatsApp revealed that the blackout was for good reason: A fire had broken out in nearby Eaton Canyon, and Altadena residents east of me were quickly being asked to evacuate.

Naively thinking the fire would go over the mountain rather than come down into our town, we begrudgingly packed up. My husband and I use CPAP machines at night, so sleeping is near impossible without power. And if I was worried about trees falling during the day, I knew my anxiety would be at an all-time high all night given the trees proximity to my kids’ room. As we drove out of Altadena, we stopped near the center of town at a light. That’s when we first saw the fire, which was by then already burning a vertical swath across the front of the town’s entire mountain backdrop. The flames were breathtaking in their enormity and intensity, and while we had to hope for the best, we also feared the worst.

I barely slept that night, and not just because I was sharing an air mattress with my very wiggly son. Waking up at 3:30 a.m., I grabbed my phone and saw a cavalcade of texts and posts. Whole neighborhoods and streets were burning, and no one knew whether their house was safe. Some neighbors had stayed—one of ours camped out on his roof the entire fire, watering spot blazes and posting almost hourly videos of what he could see from his perch in an attempt to calm panicked evacuees—but those who had left in the night painted a bleak picture. The town was burning, they said, and it seemed there was very little that could be done.

And the town did burn, not just on the night of January 7 but also for much of January 8. Friends and neighbors told me that they heard their house was absolutely fine at 6 a.m. but reduced to a pile of ash by 7:30, and slowly, slowly, over the course of the day, a picture started to emerge of what had happened.

More than 9,000 houses and buildings burned in Altadena that day. We’d eventually learn that at least 19 people died. In the Palisades, 12 people died and 6,800 structures burned. Generations of work and love and financial stability were swept away in a flow of fire, and while some of us were fortunate enough to not lose our homes and livelihoods, many, many residents and business owners in our beloved mountain hamlet did.

It wasn’t just structures that were lost—it was memories, baby blankets and Christmas decorations, height charts carved into walls and homes that were passed down through generations. Things could be replaced, but history had been lost forever, or at least dramatically rewritten. As former Dwell contributing editor Alana Hope Levinson noted in the wake of the fires, a lot of architectural history was destroyed as well, structures that could never be rebuilt or recreated in any sort of authentic way.

In the weeks that followed the fires, the stresses and sadness were only magnified. Suddenly, L.A.’s rental market was absolutely deluged—both for long-term and short-term rentals—with prices skyrocketing and availability plummeting. A friend who’d lost his house told me that he went to an open house for a rental and was told that 100 other Altadena families had come through that day, all with a version of the same awful story about loss and insecurity. (And, it’s worth noting, it’s not a problem that’s gone away. Almost a year later, a not-insignificant portion of fire-affected residents are still without long-term housing, often because of financial difficulties, struggles to find rentals that will take their pets, or lack of disability-friendly rentals on the market.)

Then, there were the struggles with insurance. Thousands upon thousands of fire victims in Altadena, the Palisades, and Malibu had taken to GoFundMe to launch crowdfunding campaigns in the wake of their total losses. More followed as it became clear that even those with houses to go back to would face a long path toward ash, smoke, and lead remediation. Some of those GoFundMes met their ask almost immediately, while others struggled to draw even a few thousand dollars. The marketplace was overwhelmed with those in need, and with insurance money slow to come—or, in the case of so many who were under- or noninsured, not coming at all—people needed money. There were meals and clothes and combs and shoes aplenty flying around at charitable pop-ups, but it’s hard to accumulate too much stuff when you don’t know where you’ll be able to store it that night or even that year.

Those small acts of kindness provided relief from the community’s growing frustrations, whether with the insurance companies, with SoCal Edison whose equipment likely caused the fire, or with L.A. County, who it seems were negligent in evacuating residents on Altadena’s west side, even as the fire bore down on them. Online, many Angelenos used their potential platforms to encourage donations and share recovery resources, circulating spreadsheets outlining everything from available rentals to furniture-building manpower or a nice hot lasagna dinner. Some watchdogs called out landlords who were price gouging, hoping to shine a bright enough light that an owner would either change course or get in trouble with the county. Local realtors with large online followings—this being L.A., at the center of the influencer industry and a hotbed for real estate reality TV series—temporarily pivoted their social media presences to share their knowledge and information (and promote their messages and opinions on how the city can and should rebuild). Meanwhile, artists took tintype photos of residents among their burnt out lots and drew line portraits of the homes people had lost, and community members set up plant stands so those who were displaced could snag a new succulent to brighten up wherever they’d crash landed.

Design professionals and tradespeople gave what they could, too. Some Altadenans realized that thousands of Batchelder tiles were sitting on the facades of the now-exposed chimneys that dotted their neighborhoods like lighthouses. They called architecturally, historically, and preservation-minded friends to produce a de facto architectural survey of what was left in town and enlisted vintage tile experts to pull down all the tiles they could, in an effort to preserve them not just for posterity but for the homeowners who’d already lost so much. Upon hearing tales of woe from flummoxed homeowners confused by the rebuilding process and cost, local architects, builders, and project managers came together to help streamline the process. They created services like the Foothill Catalog, which offers preapproved plans for a range of houses inspired by what was already in Altadena, and the Altadena Collective, which both helps buyers find good builders and contractors to work with and aims to drive hard and soft building costs down through the power of group negotiation.

Others offered more niche expertise. Angel City Lumber, for instance, has been cutting down and storing damaged trees from across Altadena’s burn zone, hoping to give residents access to the wood that had been on their land. Local adaptive reuse architecture firm Omgivning’s Morgan Sykes Jaybush enlisted the help of a friend, Brad Chambers, to begin helping Altadena residents find and move historic, well-built homes from across L.A. that had been deemed teardowns by developers looking to build something bigger or more modern. And midcentury preservationists and architects started to step up with thoughts and theories about how they thought the historic homes they loved could be saved—if not from the Eaton and Palisades Fires, then from the ravages of future environmental catastrophes.

But even with all the moral support, media attention, and helping hands, what’s become increasingly clear is that, even though the first Altadena resident reportedly just moved back into his newly rebuilt home, there’s still a long, incredibly difficult route to recovery ahead. (At least one new home has popped up in the Palisades, as well.) In Altadena, developers and Powerball winners have been buying burnt out lots in order to build new homes that will reshape the community’s architectural character, and likely its population also. At the time of writing, the first page of Altadena listings on Zillow includes at least two renderings of modern farmhouse-style houses on sale for upward of $1.8 million alongside listings with photos of burnt out lots of varying sizes and prices. In November, Disney announced it was directing $5 million toward the rebuild of a local park that was destroyed in the Eaton Fire, prompting at least one Mouse-crazed blog to dub Altadena "a new Disney destination."

It’s been a long, mostly soul-crushing road, and despite news reports about permits getting issued and the relighting of Altadena’s historic Christmas Tree Lane or local restaurants like Betsy getting national acclaim and attention, when you drive around much of Altadena, it’s still a ghost town—and one with quite a sad story to tell. And across town, it seems no different.

When I run into old neighbors at hardware stores or sit down with parents from my kids’ school, inevitably the conversation will circle back to where we were on January 7, or what’s going on in all of our latest battles, whether with contractors, insurance companies, or (at least in Altadena’s case) SoCal Edison. We’ve become begrudgingly trauma bonded, learning lessons together out of necessity that appeared incredibly suddenly. And while we know that our town is ensured a new beginning, we also now know something else: that one day—with global climate changes and devastating weather disasters only continuing to rise—we’ll be called on to share what we’ve learned. We’ll be there, with spreadsheets, neighborhood organization guidelines, and coping techniques, but we’ll always wish we didn’t have to be.

Top photos by (clockwise from left): Jason LeCras, Meg Pinsonneault, courtesy Altadena Collective

Related Reading:

What Does the L.A. Midcentury Dream House Look Like in the Age of Fire?

Deciding to Rebuild After a Fire Is Just the First Step

From the Archive: Barbara Neski Returns to a Hamptons Home Decades After She First Designed It

The boundary-breaking modernist architect was usually mentioned alongside her husband. But a solo rehab of their Formby House distinguished her.

As a part of our 25th-anniversary celebration, we’re republishing formative magazine stories from before our website launched. This story previously appeared in Dwell’s July/August 2007 issue.

"We were so involved in the architecture that we never had time for networking," says 79-year-old Barbara Neski, recalling the 40-year collaboration she enjoyed with her late husband, Julian. "That way we could have a career and children too. We were always a close-knit family." Together they designed more than 35 houses in a style that was at once urgently urban while still being approachable and sensitive to their rural sites. While grounded in the geometry of European modernism, their best designs reflected both the landscape and the social milieu that were unique to the Hamptons, where 25 of their much-lauded vacation homes were built.

The sharp-edged, boxy forms with roof decks, sun courts, shifting planes, and multiple levels were very much an expression of the times. Exterior walls of white or gray-stained cedar siding served as foils for the play of light and shadow. Ramps replaced conventional stairways, evoking a sense of perpetual motion and perpetual expectation: Le Corbusier’s idea of la vie sportif reimagined for the television age. Unlike some of their better-known contemporaries, the Neskis rarely, if ever, repeated themselves. 

Drawing courtesy Barbara Neski

Barbara, known as "Bobbie" by close friends, was born Barbara Goldberg in 1928 and grew up in Highland Park, New Jersey. In 1948, during her third semester at Bennington College, she discovered the joys of good design—she was taken by the elegance of the butterfly roof of the nearby Robinson House by Marcel Breuer in Williamstown, Massachusetts—and knew she wanted to be an architect. "I didn’t know that a house could be a work of art," she confesses. "Breuer was an eye-opener."

Barbara finished Bennington in 1949 and went on to Harvard’s Graduate School of Design (GSD), then under the directorship of Walter Gropius. Women architects were still an oddity then, and Barbara’s father warned her to take up shorthand just in case. While she never studied directly under Gropius, Barbara remembers him being a very gentle man, which wasn’t always the case with GSD faculty. One of her teachers, Hugh Stubbins, refused to take her seriously. "He would come around during crits and completely ignore me," recalls Barbara. "He didn’t even look at my drawings." She was, however, accepted by the other students. "All the guys wanted to help me. I had a lot of boyfriends."

She finished Harvard’s three-year program in two, and in 1952 started in the New York office of José Luis Sert, where she worked on urban plans for Bogotá and Havana. "There were only a few of us in the office and everything was charrette. We’d always work through the night." It was also at this time that she met her future husband and design partner, Julian Neski, who was also working for Sert. They married in December of 1953 while they were both working in Marcel Breuer’s office. "Breuer always liked women as ‘things’ hanging around the office," she says. There, Barbara developed plans for a factory in Canada, a house in Connecticut, and the new library at Hunter College. She stopped working for Breuer in 1957, pregnant with her first child, Steve. "I changed his diaper on our drafting table," she recalls.

By the early ’60s, the Neskis had established their own firm. "We shared everything and presented ourselves to clients as a team," says Barbara, but clients often had a more conventional view. "Invariably the wife would direct her questions about interiors to me and the husband would bring up money matters with Julian."

The Neskis’ clients weren’t merely escaping their weekday pressures; they were out to make a statement, transplanting their edgy energy from the city to the beach. The Simon House (Remsenburg, 1972) was just such a reflection of its owners’ careers. Peter Simon starred on a soap opera and his then-wife, Merle, was a singer/dancer on Broadway. The house’s 11 rooms were stacked in spiraling order, each on its own level. As one progressed up the central staircase, the ceilings got higher and the views expanded, culminating in a panoramic view of the ocean. "It opened up nicely as a stage set," says Barbara. "We liked to imagine Merle dancing down those stairs while her husband played the piano on a different level."

See the full story on Dwell.com: From the Archive: Barbara Neski Returns to a Hamptons Home Decades After She First Designed It
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Tracing the History of Boulder Crest, a Storied—and on the Market—Altadena Home

Rumors of a secret Frank Lloyd Wright provenance. Stonework that survived a 1930s fire. When I learned this house in my neighborhood was on the market, I had to learn more about it.

There are many homes that have piqued my curiosity in the few years since my wife and I bought our midcentury house in the foothills of Altadena, but none more than Boulder Crest. I can see the residence across Millard Canyon from our backyard, primarily its expansive, slanted white roof peeking out through the landscape’s mature coast live oaks. With binoculars I can make out a mottled wall and a storybook-style arched bridge surrounding the property’s perimeter, but little more. Even guarded by trees, the house demands attention whenever I scan the canyon, especially during early autumn evenings when my wife and I like to sit outside and watch the sunset.

Over the years I’d ask neighbors about the "house with the big white roof" in the hopes of learning more about the who, what, and when of the residence, but hardly anyone knew anything except that it was currently vacant and that there was a pool hidden somewhere out of view (and also that bears and mule deer regularly ambled through). One neighbor did divulge that he "heard from a friend" the home was a secret Frank Lloyd Wright—the sort of highly unlikely, but intriguing hearsay that only made me even more curious. 

The house sits at the dead end of a sharply angled private road with only a handful of other neighbors, and I couldn’t muster the courage to venture up there and potentially bother any of them. But recently, I became friends with the couple who live next to the architectural apple of my eye, Greg and Sloane Mann. When the Manns invited me over, I not only got a better look at the adjacent Boulder Crest, but also found out that the property is for sale, and the realtor who sold my wife and I our home is representing the listing.

Altadena’s Boulder Crest home blends Arts and Crafts elements with midcentury-modern architecture.

Altadena’s Boulder Crest home blends Arts and Crafts elements with midcentury-modern architecture.

Photo by Susan Pickering

1910s: Building a Foundation

Greg told me his childhood memories of Millard Canyon, but they don’t reach back to the original Boulder Crest; wildfire—an ever-present threat in these foothills, and one we have all come to know too well this year—claimed that earlier incarnation.

Boulder Crest was originally completed in 1912 as a "no expenses spared" three-story Swiss-style lodge commissioned by Los Angeles clothier and conservationist Reinhardt J. Busch. He was quoted in a 1952 Los Angeles Times story saying that the property "out-Swissed Switzerland"—a line from a pamphlet he published about the lodge, which also said, "with its many unique features, [Boulder Crest] has no counterpart in the United States."

The interiors merge arroyo stonework and old growth redwood with post-and-beam construction.

The interiors merge arroyo stonework and old growth redwood paneling with post-and-beam construction.

Courtesy Teresa Fuller

Busch claimed every block of granite was quarried or gathered from nearby hills and ravines; the terrace, bridge, and pathway were all hand-built with locally sourced rocks and stones. Two sizable boulders were positioned to form the home’s dramatic entrance. The estate’s grounds were lush with gardens and a stone bridge spanning a small creek—a retreat that embodied the emerging California ideal of architecture inviting in the outdoors.

A guest lodge "away from the noise and turmoil of city life, still easily accessible over finely boulevard drives, distanced only fourteen miles from Los Angeles," as Busch described it in the property pamphlet, Boulder Crest became the gathering place for early 20th-century visionaries—Thomas Edison and Henry Ford reportedly among them, with musicians from the Los Angeles Philharmonic holding practices in the music room.

That ideal, however, would meet its trial by fire. In October 1935, the Las Flores Canyon Fire swept through Altadena’s foothills, destroying the Busch lodge only leaving its masonry foundations waiting for another beginning.

Jade-hued concrete floors span from the living room to the kitchen.

Jade-hued concrete floors span from the living room to the kitchen.

Photo by Susan Pickering

See the full story on Dwell.com: Tracing the History of Boulder Crest, a Storied—and on the Market—Altadena Home
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The Content Creators Who Turned an Obsession With Vintage Love Motels Into One

After years spent touring America’s most fabulous—and dying out—spots, this kitsch-loving duo have distilled their favorite spots into a playful new Michigan vacation rental.

When content creators Margaret and Corey Bienert eased open the door to a honeymoon suite at Cove Haven Resort back in 2018, they had no idea just how life-changing their stay would be. Although they had seen an image online by the British photographer Juno Calypso that offered a glimpse of the resort’s nostalgic interiors, it hadn’t fully revealed the extent of what was in store. Waiting inside for them was a high-camp wonderland, complete with a champagne-glass tower bath worthy of burlesque queen Dita Von Teese herself. Over in the corner of the room, a heart-shaped tub bubbled invitingly beneath a mirrored ceiling.

It was love at first sight, Margaret recalls. "It was like walking into an entire world I didn’t realize was still alive. It feels like there was my life before we went to Cove Haven, and then life after."

The resort is in the Pocono Mountains, tucked into a sleepy corner of rural Pennsylvania, an area that, in the 1970s, became a surprising hotspot for newlyweds. Many of these fantasy-themed motels in the self-proclaimed Land of Love have since shuttered or are now struggling to keep the lights on. Sensing the urgency of their discovery, the couple set out to document this slice of not-quite-past Americana.

Couple Margaret and Cory Bienert as seen in one of the bedrooms in the house they’ve spent few years turning into their dream home—and hotel.

Margaret and Corey Bienert, who have long been fans of vintage, have spent the past few years turning The Sweetheart Hideaway into their dream home—and hotel. "The good thing is that we learned so much from project," Margaret says. "But the sad thing is that if we’d known the things we know now, it would have taken half the time. But you don’t know what you don’t know."

Photo by Jenn Goz

Their visit sparked a creative journey that sent the pair traveling coast-to-coast, staying in over 50 of the country’s most fantastical themed suites. Their adventures are chronicled for their 1.4 million followers on TikTok and more than 700,000 fans on Instagram. A glossy coffee-table book, Hotel Kitsch, followed in 2023. Then, earlier this year, the duo surprised their community by switching sides of the check-in desk and opening their own more-is-more rental home in Southwest Michigan.

The Sweetheart Hideaway, a four-bedroom house set within the woodlands of St. Joseph—rates start at $600 a night, and fluctuate throughout the year—features vintage relics salvaged from historic motels, an outdoor hot tub, a theatrical performance stage draped in dazzling gold curtains, and, of course, a cherry-red cupid tub. Dwell sat down with the couple to talk about their design inspiration, renovation realities, and how a passion project became a business.

The home has a number of unique touches, including a stage they built in the living room for guests to do karaoke on, complete with a custom heart rug on top.

The home has a number of unique touches, including a stage the couple built in the living room for guests to do karaoke on, complete with a custom heart rug on top.

Photo by Margaret Bienert

Why do you think A Pretty Cool Hotel Tour became such a viral hit? 

Margaret Bienert: I think it’s really all about escapism, about wanting something outside of the current reality. When we started the account in 2019, it wasn’t an overnight blow-up, but the followers and interest grew steadily. Our audience is a mixture of older people who might have once stayed at these motels on their honeymoon, and younger people who work in fashion or photography and are looking for creative inspiration. We get people commenting that they’re buying heart-shaped dishes or painting a room a different color after seeing our page.

Corey Bienert: But as we have found out for ourselves, recreating these themed rooms is difficult to execute. Due to necessity, people often have to incorporate it in a more subtle way.

The bedrooms all have names; this one, called Star-Crossed, required some careful positioning to avoid putting the bed against the windows. They ended up covering a door that led to a small storage attic, using curtains to completely hide it from view. Inspired by a room at Cove Haven Resort, they were determined to install a star ceiling, which are a regular feature at kitschy hotels, and used Flex Ceilings to get it done.

The bedrooms all have names; this one, called Star-Crossed, required some careful positioning to avoid putting the bed against the windows. Margaret and Corey ended up covering a door that led to a small storage attic, using curtains to completely hide it from view. Inspired by a room at Cove Haven Resort, they were determined to install a star ceiling, which are a regular feature at kitschy hotels, and used Flex Ceilings to get it done.

Photo by Margaret Bienert

See the full story on Dwell.com: The Content Creators Who Turned an Obsession With Vintage Love Motels Into One
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