In Los Angeles, a Modern Farmhouse With an ADU and Pickleball Court Seeks $8.9M

A sleek and soothing escape in Bel Air awaits.

10560 Dolcedo Way in Los Angeles, California, is currently listed at $8,995,000 by Shamon Shamonki at Sotheby's International Realty - Brentwood Brokerage.

This newly reimagined modern farmhouse is nestled within a coveted enclave of prestigious Lower Bel Air, minutes away from the iconic Bel Air Hotel. 

Resting on over half an acre of verdant grounds, the five-bedroom, five-and-a-half bathroom residence is illuminated by soaring and sky-lit 18-foot ceilings that create a bright and airy atmosphere throughout. This residence is all about the details, and was designed for indoor/outdoor enjoyment with fire-proof metal roofing and interlocking fold-away steel and glass walls.

The floor plan holds lavish en suite bedrooms, with luxe finishes and indulgent steam showers. The bathrooms are outfitted with Graff products and stunning Italian fixtures from Gessi and Fantini. The primary suite is nothing short of a sanctuary, with a spa-inspired bathroom that includes a freestanding soaking tub, walk-in steam shower, generous dual vanities, a cavernous walk-in closet, and private indoor and outdoor lounging areas. 

Designed by DI Group, the kitchen is a chef’s dream, complete with top-tier (and hidden) Miele appliances, bespoke cabinetry, a drinking water system purified via reverse osmosis, and a hyper-filtration system. An expansive open-plan layout connects the kitchen, living areas, and resort-like backyard, creating the ultimate setting for both intimate gatherings and grand entertaining. 

Step outside to a private oasis, set up for al fresco dining with a corner bar. Play a game of pickleball on the court with a private lounging area, or enjoy the platform that overlooks lush tree tops, villas and sunsets over the mountains. 

In addition, the property includes an impeccably designed and permitted guest house (ADU) for visitors, extended family, exclusive office, or potential for rental income.

Listing Details 

Bedrooms: 5 

Baths: 5 full, 1 partial 

Year Built: 1936

Square Feet: 3,800

Plot Size: 0.6 acres

Courtesy of Sotheby's International Realty - Brentwood Brokerage


Courtesy of Sotheby's International Realty - Brentwood Brokerage

Courtesy of Sotheby's International Realty - Brentwood Brokerage

See the full story on Dwell.com: In Los Angeles, a Modern Farmhouse With an ADU and Pickleball Court Seeks $8.9M
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How They Pulled It Off: A 48-Foot Glass Hallway Joins a Pair of 200-Year-Old Homes

In New Orleans, design firm Mason Ros came up with a gallery-like addition that links an 1830s-era Creole cottage to its next-door neighbor.

Welcome to How They Pulled It Off, where we take a close look at one particularly challenging aspect of a home design and get the nitty-gritty details about how it became a reality.

When tasked with a way to conjoin two neighboring properties, homeowners Tom Perrault and Sal Giambanco’s vision started as a hyphen—not an em dash or an en dash—and ultimately landed on something grander than the former alley that once stood there. Thanks to some creative thinking from design firm Mason Ros, a glass-lined hallway spans the distance between the two structures and is now the centerpiece of their home.

Mason Ros led the design of a 48-foot glass hallway that connects two newly renovated homes in New Orleans.

Mason Ros led the design of a 48-foot glass hallway that connects two newly renovated homes in New Orleans. 

Photo by Laura Steffan

The couple added a backyard pool early in the renovation process.

The couple added a backyard pool early in the renovation process. 

Photo by Laura Steffan

Tom purchased a beat up (but still functioning) wooden scissor sculpture at an online circus auction. Covered in peeling baby blue paint, some expressed doubts, but he had a vision. Inspired by the work of Claes Oldenburg, Tom approached local artist Teddy Noggle who sanded it down, built the pedestal box it’s placed on, and painted the sculpture bright yellow.

Tom purchased a beat up (but still functioning) wooden scissor sculpture at an online circus auction. Covered in peeling baby blue paint, some expressed doubts, but he had a vision. Inspired by the work of Claes Oldenburg, Tom approached local artist Teddy Noggle, who sanded it down, built the pedestal box it’s placed on, and painted the sculpture bright yellow.  

Photo by Paul Costello

See the full story on Dwell.com: How They Pulled It Off: A 48-Foot Glass Hallway Joins a Pair of 200-Year-Old Homes
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A Lush Lagoon in Scottsdale Awaits You for $3.4M

Calming interiors open up to verdant gardens and tranquil indoor/outdoor living.

6529 E Camino De Los Ranchos Street in Scottsdale, Arizona, is currently listed at $3,495,000 by Russ Lyon Sotheby’s International Realty.

Nestled in a neighborhood near Scottsdale Quarter, Kierland Commons, and Old Town Scottsdale, this home was designed as a quiet sanctuary that brings the outdoors in. Renovated in 2017, the home boasts distinctive features and an unparalleled charm that sets it apart from the rest, including a custom entry made of glass, steel, and wood. 

The home is currently thriving as a successful vacation rental, and it should come as no surprise: With an organic palette and natural materials, plus amenities like a lush, lagoon-style pool with concrete gas fire pit and circular seating.

Listing Details 

Bedrooms: 5 

Baths: 3 full 

Year Built: 1973 

Square Feet: 2,898

Plot Size: 0.24 acres

Courtesy of Russ Lyon Sotheby's International Realty


Courtesy of Russ Lyon Sotheby's International Realty


Courtesy of Russ Lyon Sotheby's International Realty

See the full story on Dwell.com: A Lush Lagoon in Scottsdale Awaits You for $3.4M
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"We’re Going to Have Something Worse": What Dr. Lucy Jones Says Will Make L.A. More Fire Resilient

The city’s seismologist turned climate disaster expert wants better building codes but isn’t waiting around for them.

Homes in Altadena, California, lie in ruins two weeks after the Eaton Fire ripped through the Southern California community.

For decades, seismologist Lucy Jones was best known for coming on live TV after an earthquake to reassure a shaky Los Angeles—and remind Angelenos to prepare for the "big one." But in recent years, she’s been broadening her area of expertise. In 2016, Jones founded the Dr. Lucy Jones Center for Science and Society, which works with governments and nonprofits on disaster resilience plans, and not just for earthquakes, she says. "I’ve been moving more into the climate space because what’s coming from climate change is going to be worse than what earthquakes could do to us."

In January, one of the worst-case scenarios that Jones had been preparing for came to pass as the Palisades and Eaton Fires ripped through different corners of L.A. County. A Pasadena resident and longtime Caltech faculty member, Jones watched as at least 235 members of her scientific community lost their homes in the Eaton Fire, leading Caltech to sign a master lease of a newly built apartment building to house 80 families. Now, as L.A. moves from response to recovery, Jones remains a trusted resource for her own colleagues as well as local policymakers working to restructure a society that can more quickly bounce back after a disaster. It’s a topic she explored in depth in her 2019 book, The Big Ones: How Disasters Have Shaped Us (and What We Can Do About Them).

Dr. Lucy Jones is a Los Angeles seismologist who works with nonprofits and governments to develop disaster resilience plans.

Dr. Lucy Jones is a Los Angeles seismologist who works with local nonprofits and government to develop disaster resilience plans.

Photo courtesy of Dr. Lucy Jones

On a rainy March morning, as debris flows coming out of burn areas triggered emergency alerts, I met Jones at her former workplace on the Caltech campus. A small exhibit in the entrance of the Seismology Laboratory provided haunting echoes of previous calamities the region had faced. "Food rushed to ruined cities" screams the front page of a 1933 issue of the Los Angeles Times after the Long Beach earthquake killed as many as 125 people. With the fire-scarred San Gabriel Mountains before us, Jones explains how we can better prepare for worsening climate disasters and why the best way to recover from them remains the same: by forming even stronger community ties.

You’re a seismologist who has warned L.A. for many, many years about the importance of preparing for a major earthquake. Why will climate change be worse? 

Dr. Lucy Jones: I first really heard about climate change in 1992. I was put on something called the Board on Natural Disasters, which was part of the National Academy of Sciences, advising on research about disasters. So I was the seismologist, and an atmospheric scientist came and talked about climate issues. Even then, he said, the first sign is going to be an increase in extreme events. When you raise a degree centigrade, you don’t notice it so much, but that degree is heat. Heat is energy. We’ve increased the amount of energy in the atmosphere, and that amount of energy to drive storms has gone up.

And that’s really changed [Los Angeles]. We’re starting to recognize the inevitability of wildfires, and our ecosystems are all experiencing a slightly different climate than they evolved for. The way ecosystems shift is, you have a big wildfire, it kills all the plants, and new plants come in. It is, in a sense, natural. But in California, as I learned while working with fire ecologists, we do not naturally have wildfires during the strong northeast Santa Ana winds. Natural wildfires start from lightning strikes, which happen at a different time of year. So we’ve really changed the nature of fires in Southern California by adding more human sources of ignition.

I think that’s a reality that everyone needs to come to terms with. When it comes down to it, the human presence is the problem.

That said, I think people underestimate how much you can make your house stronger. I was talking to a structural engineer who works for the Institute for Catastrophic Loss Reduction, which is funded by insurance companies in Canada. He was saying that the 2008 building code in California, which we still use, is really good—that it’s still way ahead of all the other states. And there’s not a lot that they would recommend adding to it. He said one thing would be requiring a five-foot apron of noncombustible material around the house. After talking with him, my husband and I are actually pulling out some plants near our house and taking down a wooden fence.

"I think wildfires are going to be what gets us to finally act on climate change."

—Dr. Lucy Jones

You were a mile away from this fire, but there were embers that traveled that far.

I’m not in Altadena, but I was a mile from the evacuation zone. We have a gorgeous 1948 midcentury modern with these really big windows and molding underneath. The embers did come down here. There was another fire that started up by the Trader Joe’s in San Gabriel, which is as close to us as the Eaton Fire was. The neighbor’s tree came down on our house because of the winds. We were getting ready in case we got evacuated.

In 2009 we were the first block evacuated in the Station Fire, which is part of why we left La Cañada. That fire was not wind-driven; it was heat-driven. It was in August, and it was 110 degrees. Nobody lost their houses. The L.A. County Fire Department did an amazing job. They stopped it in our neighbor’s backyard. We were out of the house for three days and when we finally got home, it smelled like an ashtray. And then there were debris flows. We were trapped one day where one had gone down the Angeles Crest Highway. It was so disruptive. We decided to move after our kids left for college. We thought about moving to Altadena, because everybody lives in Altadena, because you want to be by the mountains. We loved living by the mountains. But I couldn’t do it. I didn’t want to go through that again.

We now have the state fire maps changing, with these new boundaries in Altadena. But does that warning of risk really change people’s decisions about where to live?

Immediately after a fire, everybody’s thinking about it. The danger also fades really quickly. We recognize the need for fire departments—we don't always recognize the need for fire building codes. Disaster response has an emotional connection. Prevention doesn’t, because it’s abstract, in the future, and coming out of an analytical side of the brain. I saw one study that said we spend $8 on response for every dollar we spend on prevention and each dollar spent on prevention saves $6 for response. It would be way more cost-effective if we were willing to do the prevention.

But we do seem to process this preparedness for earthquakes differently compared to other hazards. Is it because we have these little ones all the time that remind us of the danger?

It helps. What is going to get us to focus on the danger? If it’s catastrophic, if it affects a lot of people or future generations, or if it’s a particularly awful way to die. So earthquakes really check a lot of these boxes. With earthquakes, you have absolutely no notice, and you’re being trapped in a downed building as a fire comes through. Floods kill as many people as earthquakes in the United States, but who’s afraid of the rain? It’s predicted. You can see it coming. You have an illusion of being more in control, and all of those things make it feel safer.

Fires are somewhere in between. There’s a type of fire weather, so we know when they might come. But fires are now spreading so fast. These wind-driven ones like what happened in Santa Rosa, Lahaina, or here have a pattern of starting in wildlands and moving through an urban environment, because the winds have gotten so strong. These types of fires are going to become a lot more common, and it’s changing our perception. People are more afraid of fires now than they were a decade ago, and there’s more belief in the inevitability of climate change, because we’ve seen the evidence. I have been saying for a few years that I think wildfires are going to be what gets us to finally act on climate change.

So while this fear is fresh in people’s minds, isn’t this a good time to have conversations about whether or not we should be moving back into these areas? Or, maybe what we should be doing as a government to help people not move back? 

Philosophically, Americans have a really hard time with this. We are very individualistic. We don’t like the government telling us we can do with our property. The government steps in when something becomes a life safety issue, but the problem is that those mechanisms are 30 years old. We don't like to fund regulators. We have a lot of people who try to get around them, and this is what happens when you don’t fund them well enough.

One thing about climate right now is there are not going to be federal initiatives for a while, and one could take that as a reason to despair. But, in fact, a lot of what has to happen has to happen locally, and we don’t have to wait for the feds. A lot of the local action is around housing issues. Enforcement of building codes is still a local jurisdictional issue. There are a lot of local jurisdictions that do not have an engineer in their building departments, and the chief building official is a political appointment, a developer or someone who comes out of the construction industry. I want the building code department to be the strongest department.

Los Angeles’s Dr. Lucy Jones was focused on earthquakes before broadening her scope to include all natural disasters, which she discusses in her 2018 book.

Dr. Jones was focused on earthquakes before broadening her scope to include all natural disasters, which she discusses in her 2018 book.

Image courtesy of Dr. Lucy Jones

And it needs to happen pretty quickly. After Lahaina happened you said L.A. would be next, that it was only a matter of time.

Yes, I just didn’t think it was going to be within the next year. The thing about climate change is that this is an exponential growth curve—when we think about how it’s changing, we’re underestimating how fast it’s going to happen. How will we cope if the next fire that does this literally burns down to the 210 freeway and then the next one burns down to San Marino? How far into the city can it go? We’re going to have something worse than this, and we’re going to have a lot of bankrupted people because they won’t be able to rebuild.

We’re now moving from the response phase to the recovery phase. The next phase is resilience. So what does a better approach to resilience look like?

Southern California doesn’t do community very well. We’re famous for our freeway culture. But I’ve been really impressed at how communities have come together and how much people want to do—there was this huge outpouring. Now it’s starting to fade. People are recognizing there needs to be more.

But that’s the idea: you are surrounded by community hubs. It could be a faith- or church-based community, or other sorts of organizations where people come together for their neighborhood. That sort of community then connects you back to people, and makes you want to stay with it as you’re trying to deal with all of this. And then it’s easy to figure out who’s helping who. A couple of years ago, I had been asked by the Episcopal Diocese of Los Angeles to help them develop a disaster preparedness program for churches as part of their climate response. On the night of the fires, I activated a disaster cohort from that program and stepped in and helped. I realized how much better I just felt that I’d done something.

L.A. was facing many more challenges before the most current disaster. How realistic is it that we will actually learn from this one?

One of the things that we like to say is that disasters don’t break systems. Rather, they reveal what’s already broken. I can imagine a future in which we do this, in which we survive here, and we figure out how to restructure into something more sustainable. I can also imagine a future in which we don’t.

Top photo courtesy of Robert Gauthier/Los Angeles Times via Getty Images

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Can Wayfair’s Decorating AI Help Me Reimagine My Living Room?

Muse can't replicate the power of an interior designer, but when you have a blank slate, the tool can at least help guide your direction.

My approach to decorating can be summed up in three words: less is more. I’m at my best in a relatively organized home with clean surfaces and unobstructed corners that allow me to easily assess and access everything. I prefer modern, functional designs that are vibrant yet refined in a way that say, "I live a sophisticated yet streamlined life" (although this isn’t entirely true). In other words, my ideal space feels effortlessly designed, without too many competing elements, accessories, and furniture. We’re talking one step away from minimalist.

But the mere thought of bringing that simple mantra to life honestly feels like too much work/effort/money. Where do I even begin? Since my budget doesn't allow for hiring an interior designer, Wayfair’s AI-powered tool Muse piqued my interest. Released in February, the virtual design assistant is pretty straightforward: upload a photo of your space and use design templates to fill in the blanks. Wayfair’s labeled their pre-decorated AI-generated spaces as Muses, and although they come ready-made, they’re also customizable. Don’t like the recommended orange camel sofa? Swap it for a purple velvet mid-century modern two-seater or whichever alternative the tool or a quick search provides. You can also explore similar Muses until you curate your preferred look and easily shop the recommended products while you design and save Muses to revisit.

"In general, I think the most helpful aspect of this design tool is the opportunity it offers users to see their spaces in new ways," says Oregon-based interior designer Allisa Jacobs, who consulted with Wayfair on the development of Muse. "By showing how a space might look with chairs placed in a different position or with new colors, I think it makes design more accessible."

Working with my Muse

My first task for Muses? A living room makeover. I started by searching "minimalist boho living with gold accents," which yielded a ton of results. Most of them featured a bland, neutral couch—not exactly my style. Having so many options felt like a blessing and a curse, but I finally settled on an ideal arrangement with a spunky orange sofa. Next, I uploaded a photo of my empty living room and selected "apply to my real space," which produced seven different images, each with the same color palette but different decor and layouts. After choosing one of the presented images, Muse offers you the option to change details (selecting new chairs, adding/removing accents, etc.) which I toyed around with until I felt relatively satisfied with the outcome.

The result? An image that sort of resembles the original space, but doesn't really have the same essence. But the Muse-generated living room came with a rust colored sofa that sparked an interest in a color scheme I hadn’t yet considered. Plenty of the pieces were shoppable from Wayfair, but aside from that, the design didn’t exactly move me to embark upon a shopping spree. Overall, the setup was a bit monotonous and crowded—I need my negative space!—and most of the suggested products weren’t exactly unique or inspiring.

After assessing the aftermath of my initial Muse creation, Jacobs had some tips for maximizing results should you choose to use this for yourself. "The types of photos that seem to work best for this tool are those that focus on one space with the focal point or main feature clearly visible," she says. "In the example photo, the results were skewed I think as the kitchen is peeking out from the next room and the fireplace is not clearly shown. This tool seems limited in reading room details like angles, proportion, and features not fully displayed (such as a fireplace) which will make it difficult to actually apply results to your space."

Noted! For my second design attempt, I used a living room photo with a different angle—no obstructing items or connected spaces playing peek-a-boo—in the hopes that the results would be more true-to-life. I chose a Dark Academia theme (think Hogwarts for stylish grownups), then added a few green accents, and replaced a set of upholstered lounge chairs and a rectangle glass coffee table with a pair of suggested products.

This produced a slightly better design. Was it an exact replica of my living room? No, but it gave me some inspiration for furniture orientation and the lighting reflected in my original photo was a close enough match to trust that the shade of green would work in my space.

 "The tool provides instant design inspiration that can immediately spark ideas and excitement," says designer Dara Segbefia of The Zen Experience, who has worked with Wayfair in the past. "You can see your dream space come to life before committing to purchases, making the design process more engaging and stress-free."

Speaking of stress, I found all the options to be a bit overwhelming. If I was working with a designer, this would be something they could remedy with ease. But for those of us whose brains tend to freeze when met with too many options, Jacobs suggests a perspective shift. "Try viewing it as an overall suggestion or springboard. So, for example, if you’re hoping to get some inspiration with furniture layout, focus on this aspect and ignore all the little details like decor."

Segbefia recommends breaking the room down into sections. "Start by focusing on a design element you're already certain about a color scheme or a furniture piece you love) or a single area of the room at a time (the seating area before moving on to décor details). This step-by-step approach naturally brings clarity and direction, making the selection process feel more intuitive and manageable.

Overall, I could see Muse working well for someone who’s not sure where to start or what kind of design their space can handle. The tool also seems ideal for someone who already has a color scheme and accessories in mind but is wondering how a particular couch or accents might fit into their current room.

Bottom line, this tool doesn’t pretend to be a replacement for a real life designer or that design-centric pal who gives amazing decor advice on the fly; it won’t tell you when you’ve gone overboard or encourage you to rethink that colorful bathroom idea. But still it’s useful for laying the groundwork to a room’s aesthetic as long as you understand its limits.

"I’d caution against simply selecting the recommended pieces," says Jacobs. "There is so much more involved in selecting pieces including proportion, quality, sizing, and functionality. Many of the inspired Muse photos display items in a way that feels odd, incongruent to design, and just not realistic."

After seeing how the tool managed my living room transformation, the non-realistic factor was my biggest issue, one that Segbefia ties to the AI’s many inspiration options. "It often blends multiple aesthetics instead of staying true to a single vision," she says. She also thinks that the process for building a collection of items to be a little clunky. "Adding items requires manually typing in a keyword each time," she says—but despite these shortcomings, she sees Muse as a way to cut down on research and shopping time.

"You can input your ideas and see an instant visualization and then shop within the same program and have everything delivered to [your] space." 

Illustration by Kiran Joan

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The Mirror in This Tiny Brazil Apartment Hides an Entire Work-From-Home Setup

A retractable unit turns the 312-square-foot flat into an office space with flatpack chairs and fold-out desks.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: São Paulo, Brazil

Architect: Studio Papaya / @studio.papaya

Footprint: 312 square feet

Photographer: Arthur Duarte

From the Architect: "Located between Augusta Park and Roosevelt Square in the center of São Paulo, the CP Apartment sought to create a multifunctional environment suited for the client’s range of daily activities. The 312-square-foot space had a sliding door and window separating the living area and the bedroom, which we demolished in order to create one unified space. The apartment is now flexible with the introduction of hybrid furniture, which provides a range of uses.

"The custom furniture is made of freijó wood, detailed with light green laminate and black painted metal. In collaboration with designer Laura Garcia, we created a collection of unique handmade objects including a retractable bed, a sliding desk that is also a TV cabinet, and a set of folding table and chairs. Thus, the apartment can be reorganized and transformed into a bedroom, a living room, a dining room, a TV room, a home office, or even in a space for exercising and contemplation. With the intention of giving each area in the apartment its own personality, we designed the floors with different finishing materials: tauari hardwood for the sleeping area, hydraulic tiles for the kitchen area and balcony, terrazzo slabs for the bathroom, and yellow epoxy paint in the shower.

"Despite the limited size of the apartment, the project creates the possibility of multiple uses in order to optimize the footprint. This amplitude, achieved by focusing on the furniture and its functions, met and expanded the possibilities desired by the client, as well as provided a reflection on dwelling in large urban centers and the role of design. With the desire to live in a central area of the city, which comes with high density and high price per square foot, shifting the perspective on the real necessities of living was an essential part of the project."

Photo by Arthur Duarte

Photo by Arthur Duarte

Ultra-compact apartment with versatile custom-made carpentry furniture.

Ultra-compact apartment with versatile custom-made carpentry furniture.

Photo by Arthur Duarte

See the full story on Dwell.com: The Mirror in This Tiny Brazil Apartment Hides an Entire Work-From-Home Setup
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A Golden Thread Runs Through This Sydney Apartment Revamp

After discovering richly veined marble in the bathrooms, Studio Prineas carried the gilt hue throughout the home’s richly textured spaces.

The kitchen features a curved wall from which the island organically extends, both with a microcement finish. The Hinterland Stools are by Australian designer Daniel Boddam.

For architect Eva-Marie Prineas, founder of Studio Prineas, repeat clients are more than friendly faces—they represent the rare opportunity for expression that comes with deep trust and a shared vision. When a young Sydney couple expecting their first child reached out to Prineas for their apartment redesign, it marked the third project Studio Prineas had undertaken for the design-savvy family—having previously worked with the husband’s parents and brother.

<span style="font-family: Theinhardt, -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">The blue painting—by emerging Australian artist </span><span style="font-family: Theinhardt, -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Kasper Raglus—picks up on the soft, powder blue shade of the curtain and the cobalt armchair. The table beneath the painting is the Orbit console by Faye Toogood for Tacchini.</span>

The blue painting—by emerging Australian artist Kasper Raglus—picks up on the soft, powder blue shade of the curtain and the cobalt armchair. 

Photo by Felix Forest

"The family are very interested in design, which made for a lovely process," says Prineas. "With repeat clients, there’s a lot of trust, so we had considerable creative freedom."

The brief for the project was clear: Transform a generic, developer-driven apartment in Double Bay—a coveted harborside location in Sydney—into a warm, family-friendly home, working within a tight timeframe and controlled budget. "Our challenge was to rethink how to make minimal changes with maximum impact," explains Prineas.

Curved timber joinery offers storage for <i>objets d'art </i>and a small desk space. The door handles used throughout are from the Lever 01 collection by Australian architectural hardware brand Bankston.

Curved timber joinery offers storage for objets d’art and a small desk space. The door handles used throughout are from the Lever 01 collection by Australian architectural hardware brand Bankston. 

Photo by Felix Forest

The table beneath the Kaspar Raglus painting is the Orbit console by Faye Toogood for Tacchini.

The table beneath the Kaspar Raglus painting is the Orbit console by Faye Toogood for Tacchini.

Photo by Felix Forest

See the full story on Dwell.com: A Golden Thread Runs Through This Sydney Apartment Revamp
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