Breuer’s Cape Cod House Gets a Second Wind—and Everything Else You Need to Know About This Week

Samsung customers bristle at fridge ads, the AIA sues Trump over J.F.K. Center renovation plans, and more.

  • For a time, the future of Marcel Breuer’s experimental Cape Cod retreat—a lean, timber-frame Long House he built for under $5,000 in 1949—was uncertain. But now it’s been carefully restored by the Cape Cod Modern House Trust after years of decay, and has opened to the public for short rentals and tours and will be home to an artist residency program in the fall. (Architectural Digest)
  • A San Francisco firefighter just launched a petition to rename Cesar Chavez Street in Los Angeles after Chuck Norris, the actor and public figure, as sexual abuse allegations against Chavez prompt broader efforts to reconsider the labor activist’s legacy. (San Francisco Chronicle)

  • A sweeping federal housing bill aiming to boost housing supply passed this month but now has a provision aimed at institutional investors. It would force large landlords to sell newly built single-family rentals after a period, ultimately impacting what kinds homes get built, and who does or does not get to live in them. (The New York Times)

A new bill could reshape the future of access to single-family homes.

A new bill could reshape the future of access to single-family homes.

Photo by Kevin Carter / Getty Images

  • Samsung is testing ads on its Family Hub smart fridges, and many owners—who say they did not consent to their fridges displaying ads—aren’t happy about it. The pilot program turns once private kitchen screens, often used for recipes or playing music, into marketing spaces, raising questions about whether advertising should follow us home. (The Wall Street Journal)

  • A coalition of major preservation groups, including the American Institute of Architects, is suing Donald Trump to halt proposed renovations to the John F. Kennedy Center, arguing the plans bypass required federal review. Here’s how national design and preservation bodies are coming together to defend the modernist landmark from change. (Dezeen)

Top photo courtesy Peter McMahon

The Knott’s Berry Farm Family’s Oregon Ranch Is on the Market for $4.5M

Over four decades ago, Ken and Jeanette Knott left Southern California (and the famed amusement park) to build a rustic home on nearly 37 acres in the Blue Mountains.

Over four decades ago, Ken and Jeanette Knott left Southern California (and the famed amusement park) to build a rustic home on nearly 37 acres in the Blue Mountains.

Location: 59926 Comstock Road, Cove, Oregon

Price: $4,500,000

Year Built: 1980

Footprint: 4,400 square feet (4 bedrooms, 3 baths)

Lot Size: 36.95 Acres

From the Agent: "This picturesque 36.95-acre ranch is nestled at the base of Oregon’s majestic Blue Mountains. Meticulously maintained, the property features expansive open pastures, gently rolling terrain, and natural attributes ideal for grazing and cattle ranching. Whether you’re continuing a proud tradition or building your own, this ranch offers the core elements of long-term success: reliable water, productive land, a respected legacy, and a track record of proven performance. The scenic Millard Branch Stream adds to the charm and natural resources of the land."

Photo by Evan Buzzell

Throughout the home, wood clads the walls.

The custom-built home features wood-clad interiors.

Photo by Evan Buzzell

The great room is double height, with oversized windows to match.

A wall of windows stretches from floor to ceiling in the double-height living room.

Photo by Evan Buzzell

See the full story on Dwell.com: The Knott’s Berry Farm Family’s Oregon Ranch Is on the Market for $4.5M
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How to Put Together a Freaky Little Dining Tablescape

If your dinner parties could use a jolt of the absurd, pull up a chair.

Welcome to Someone Buy This!, a monthly shopping column featuring the fun, the frivolous, and the practical from a very discerning shopper.

After dinner at my place recently, a friend asked me to help her make her dining table "more freaky." This request was preceded by another question that I decided to take as a compliment: "Where do you find all this weird stuff?" She meant my zoo-inspired glassware, a dip bowl with a little island at the center and other strange little things that make sitting at my dining table feel like you’re at a Julio Torres special. My friend was working with the basics: matching plates, neutral linens, sensible glassware, etc. It was all fine, she said, but it felt a little blah.

If you too are taking a look at your tablewares and thinking that they read a little too flat, here are my picks for a freaky dining table setup that will make your guests do a little double take when they sit down. The goal here isn’t perfection or even cohesion, just to sprinkle in a little personality and, ideally, have at least one object that makes someone say, "Wait…what is that?"

La Maison Inondée Bowl

These whimsical dishes turn eating into an adventure. The smaller bowl is perfectly sized for children and can also serve as a nut dish. The larger size makes a striking centerpiece for fruit. Smaller size is stackable. Dishwasher safe.

Starting small, this bird-shaped citrus squeezer from Gohar World is a nice way to dip your toe into dining table freakdom. It has a job, yes, but it’s also the kind of thing guests will instinctively pick up and inspect mid-conversation. And if dessert is involved (it should be), serve it with the Maison Balzac’s equally strange hand-shaped cake server. This manicured hand is ready for cake, pie or a high five.

Maison Balzac Hand Cake Server

There is nothing more generous than a hand offering a piece of gâteau, so we created a ceramic cake server in the shape of an elegant hand — with red painted nails, of course!

Gohar World Lemon Squeezer, Bird

Fit for a single wedge of lemon, this bird squeezer makes a fine tabletop accompaniment for seafood, salads – and beyond.

Ichendorf Milano is a great brand to look at for fun tabletop accessories. They partner with tons of designers to make incredibly beautiful glassware. It’s whimsical without tipping into kitsch, which is a hard line to walk. In their best collection, called Animal Farm, each piece has a handmade animal baked into it, whether it’s a flamingo pitcher or, my favorite, a poodle glass. I love these for dinner parties. No one ever loses track of their cup! There are lots of Ichendorf Milano imitators out there, and this is one of those times where the dupe doesn’t come close to the charm of the real thing.

Ichendorf Milano Jug Flamingo

Color Clear Pink Material Glass Manufacture Hand-made and flame-worked Dimensions H. 27 ⌀ 23/13

Sophie Lou Jacobsen Petal Plate

The Petal Plates are a colorful collection of hand-made plates, entirely made in NYC. Available in two sizes, they can be used on their own as serving dishes, combined into a set of dinner plates, or paired with the smaller size to create striking color combinations or color blocked pairings. They also work beautifully as decorative catch all bowls.

Plates are another easy place to introduce a little chaos. The petal plates from Sophie Lou Jacobsen ripple outward like a flower in mid-bloom. They look especially good layered over embroidered linen tablecloths from Oeuvres Sensibles, which can be custom made for your number of place settings, your favorite foods or even a custom message. Vintage napkin rings add another unexpected note. You can find tons of these on Etsy and eBay. Mine, a set of painted wooden shrimp, are always a big hit at holidays and dinner parties.

Oeuvres Sensibles Dalí's Dinner Tablecloth

This hand-embroidered tablecloth draws its surrealist spirit from the dreamlike world of Salvador Dalí, whose work has inspired Sarah since childhood.The lobster pays homage to him, as do his famous mustache, while the lips — inspired by his iconic Boca sofa — appear here as decorative elements on refined tableware. Antique doilies and a napkin embroidered with Dalí’s name are sewn directly onto the tablecloth, making it a unique and singular piece that playfully works on multiple levels of trompe-l’œil.


Vintage Hand-Painted Wooden Shrimp Napkin Rings Set w/ Caddy & Candle Holder Coastal

The product is a set of hand-painted wooden shrimp napkin rings, featuring a coastal charm theme with a beachy, whimsical, and nautical vibe. The vibrant orange and red colors add a touch of kitschy vintage flair, perfect for all occasions, including seafood boils and beach parties. Made of wood and hand-painted in the Philippines, this set includes a caddy and candle holder, adding a quaint and festive touch to your dining table or kitchen decor. Ideal for those who appreciate folk art and rustic craftsmanship.


This set comes with eight napkin holders. A napkin holder caddy that holds four. And one candle stick holder. All in great shape. Barely used.

Shop

Finally, every freaky table deserves a centerpiece with a sense of humor. The egg chandelier from Gohar World is the most absurd thing I’ve seen in a long time. This one is not for entry-level freaks! Imagine serving upright deviled eggs in this.

Gohar World Egg Chandelier

A wrought-iron egg chandelier. Put all your eggs in one basket with this one-of-a-kind centerpiece, inspired by the wrought ironwork seen throughout Laila and Nadia's neighborhood in Cairo. Iconic.

Ultimately, the trick to a freaky table isn’t buying the strangest thing you can find—it’s choosing a few pieces that feel a little mischievous. Start small, build up over time, and eventually you become everyone’s favorite stop for dinner and a really fun person to gift shop for.

We love the products we feature and hope you do, too. If you buy something through a link on the site, we may earn an affiliate commission.

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Budget Breakdown: They Turned Their Sad Garage in Queens Into an Airy "Living Annex" for $100K

The renovation, completed in anticipation of NYC’s new ADU laws, shows that the borough’s many disused backyard units are full of potential.

According to John Patrick Cunningham, building in New York is a lot like filing your taxes. "It's like, ‘What can you write off as an expense?’" says the Brooklyn architect. "There's a lot of gray area about what you can do and if people will give you a fuss about it." Combing through complicated codes, sleuthing for loopholes, and maximizing your returns are par for the course. "It’s always a negotiation," he adds. This approach was particularly relevant for a recent project of his, the conversion of a dilapidated backyard shed in Queens into a serene indoor/outdoor "living annex."

In Forest Hills, Queens, architect John Patrick Cunningham renovated a crumbling garage into a 350-square-foot indoor/outdoor

Small garages that have fallen into disrepair stand behind many single-family homes in Queens because it’s challenging to renovate them. Many are no longer in compliance with setbacks, which presents a problem: they’re crumbling, but if you tear them down, you can’t build something new to replace them. Meanwhile, the driveways leading to them are too narrow to drive down. So many become storage sheds.

In 2024, New York City legalized the construction of ADUs across the five boroughs, allowing homeowners of single- and two-family homes to convert attics, cellars, basements, and free-standing or adjacent buildings into an ADU. While the law hadn’t yet passed when Cunningham began working with a family in Queens, they were aware of the potential policy change. They came to him in early 2024 with a 350-square-foot backyard shed with a caved-in roof and a $100,000 budget to renovate it. The Forest Hills residents sought a space that could flex between home office and a craft/playroom for their two children, and make their backyard more livable.

Editor’s Note: General contractor fees are included in costs.

$5,000
Interior Framing & Insulation
$10,000
Roof Framing & Insulation
$9,000
Structural Reinforcement of Existing CMU Wall
$6,000
CMU Storage Addition in Rear
$5,000
Exterior Siding and Soffits
$5,500
Wall Finishes
$6,500
Flooring
$4,000
Roofing - Architectural Asphalt Shingles
$4,000
Roofing- Gutters
$13,200
Electrical and Lighting
$6,000
Landscaping - Sod
$20,000
Landscaping - Paving
$15,500
Windows & Exterior Doors
$3,500
Interior Doors
$1,964
Permitting
$11,757.50
Architect/Design Fee
$11,000
Demolition & Waste / Debris Removal

Grand Total: $137,921.50
Cunningham’s clients sought a true indoor/outdoor space so he installed two sets of glass doors from Gamco that the family can swing wide open.
The living annex’s design is straightforward, but feels warm and interesting thanks to materials like linoleum floors from Forbo in the colorway Indigo Milk, a beadboard ceiling with materials from Dyke’s Lumber, and a jute rug from One King’s Lane.

See the full story on Dwell.com: Budget Breakdown: They Turned Their Sad Garage in Queens Into an Airy "Living Annex" for $100K
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In Osaka, a Small Neighborly Home Has Benches for Passersby

Set on an exposed lot, the residence has private, intimate interiors and exterior spaces that engage with the community.

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: Osaka, Japan

Architect: Masakazu Tsujibayashi Architects / @tttsujibayashi

Footprint: 1,130 square feet

Builder: Kosaka Komuten

Structural Engineer: Toshimitsu Miyake

Photographer: Yosuke Ohtake / @yosukeohtake_archiphoto

From the Architect: "The site is in one of Osaka’s central districts, a neighborhood where informal streets and narrow lanes weave through a mix of row houses, new residences, small shops, and temples. The area retains a warm, down‑to‑earth atmosphere rooted in its older character, and I wanted to create a home that would settle naturally into this context.

"But what does it mean for architecture to ‘settle in?’ It involves layers of naturalness, time, subjectivity, and objectivity—elements that are difficult to define logically. It is essential yet inherently unstable, shifting with human emotion. In a dense urban environment where public and private realms overlap, this becomes even more complex. With this in mind, I aimed to design a home where the residents, the architecture, and the city could continually renegotiate their relationship as feelings shift over time.

"The first step was to consider how the house relates to the street. The irregular site is bordered by roads on three sides, so the building was placed close to the property lines to secure the required floor area. Because this brings the house into close proximity with the city, I carefully calibrated the boundary between public and private. I adopted materials that age gracefully and a scale that feels familiar to people, allowing time to become part of the architecture while avoiding any sense of imposition. Openings were positioned and sized by reading the conditions of each street edge, maintaining privacy while still allowing subtle traces of daily life to filter outward.

"Building on this foundation, elements were placed intuitively, as if in ongoing dialogue with the environment and people. This intuitive process allowed the design to evolve day by day; rather than restarting, each adjustment was made while keeping the history of earlier revisions visible. As a result, a variety of contrasting elements—such as large windows and the deep eaves that conceal them, robust concrete walls and welcoming benches, or transparent and opaque railings—appear inside and out, interacting with one another to form a balanced spatial rhythm. These layered relationships continue into the interior where varying ceiling heights, floor levels, and spatial scales connect in sequence, while carefully selected materials and details create a gentle tension that guides movement and offers places of rest. Rather than dominating, the materials, details, and composition allow their inherent qualities to emerge. The way each element engages with the others feels almost conversational, creating a lively and enjoyable atmosphere.

"Ultimately, a home can only settle into its surroundings through ongoing engagement. By allowing residents to choose their relationship with the space day by day, the house gradually becomes part of the neighborhood, adapting to the subtle shifts of everyday life."

Photo by Yosuke Ohtake

Photo by Yosuke Ohtake

Photo by Yosuke Ohtake

See the full story on Dwell.com: In Osaka, a Small Neighborly Home Has Benches for Passersby
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From the Archive: Nights and Weekends Spent Working, Plus $55K, Revitalized This L.A. Fixer Upper

Handling the electrical, plumbing, and more all by himself, homeowner Lucky Diaz worked nearly every day for three and a half months to ensure his family’s new home was up to snuff.

Welcome to From the Archive, a look back at stories from Dwell’s past. This story previously appeared in the February 2008 issue.    

I was bound and determined to find a home for us. We considered prefab; we explored foreclosures. Becoming desperate, we even looked at places obviously wrong for us. We went to see a house where two guys were shooting at each other from their cars, and another one that had a cockfighting shed in the back, with feathers in the air and a lightbulb swinging.

After searching for three years, I came across this sad-looking pink house online. The bones were good, it was in a great neighborhood, and it was cheap. It was in probate—the owner had died and the woman selling just wanted it off her hands.

The house had a creepy vibe. It had belonged to a woman who smoked and was an alcoholic; she drank herself to death. Apparently, a biohazard team had been called in to clean out the place, but this all happened before it went on the market, so to us it looked like a cosmetic fixer. 

In reality there were a lot of hidden problems. For example, we found a tree growing through the walls and rafters. And the house wasn’t grounded, which caused an electrical fire on demolition day.

We kept the frame of the house and laid a metal roof over the existing one. Some of the walls we resurfaced; others we had to tear down and re-Sheetrock. The rest is all new—the electrical, the plumbing, all of the windows and doors, and the stucco. I hired subcontractors for the stucco, concrete, kitchen countertops, and tile work. To cut costs, I did the prep work. Everything else, I did myself—electrical, water, everything.

My dad was a contractor, and growing up I worked summers for him, but I had never done anything by myself. Not a thing. I’ve learned everything from watching other people or by reading my collection of old Time-Life books. Friends and family also helped. A case of beer went a long way.

Overall, the limitations of our budget forced us to be creative. We spent $55,000 on the renovation. That’s taking everything into account, including the cabinets, all the appliances, fixtures, material, and labor.

We decided to spend more on the things we’ll use the most. We like to cook and having a Viking range was essential. Our range was used at a cooking demo show, so I got it online for half-price. The recessed lighting was a splurge. Each light cost about $40, and we got 27 of them instead of putting one light in the middle of the ceiling. We skimped on the flooring, which is bamboo laminate, and on cabinetry, which is from Ikea.

The house is extremely efficient. We use less energy than most homes on the street. We didn’t have the budget to go completely green, but we tried to wherever we could. The roof is recycled metal and we used scrap wood or compressed board when we could.

There are things we’d do differently if we did it again. We would have explored cork flooring. Also, it takes an insane amount of skill to do drywall properly, so I ended up doing this funky texture. I would have been more liberal with knocking things down, but I was too scared. But again, our budget was limited, as was my skill and our time. I think it turned out pretty nice considering the money we spent.

In my delusional mind, this project was only supposed to take 30 days. I started work the week escrow closed. I’d leave our place at 5 a.m. to work on the house, then go to my full-time job at 9 a.m., get out at 5 p.m., grab fast food, and come here and work until midnight. It took three and a half months, and I only took two days off.

The house is very economical in space and keeps us honest. Like in the kitchen, most people have a couple cans of something, hearts of palm or whatever, that don’t get used and just sit there. We don’t have that luxury. There isn’t room for anything frivolous. The entire house is used all of the time.

I would love for someone to read this story and think, If these people could do it, I can do it. It seems so clichéd, like some weight-loss commercial, but it’s true: It’s doable, if you have the desire.

California’s First Woman Architect Designed This 1911 Berkeley Home Seeking $2.7M

Set at the top of historic Rose Walk, the lightly updated Arts and Crafts–style residence by Julia Morgan has panoramic views of the San Francisco Bay.

Set at the top of historic Rose Walk, this lightly updated Arts and Crafts–style residence by Julia Morgan has panoramic views of the San Francisco Bay.

Location: 1400 Le Roy Avenue, Berkeley, California

Price: $2,695,000

Year Built: 1911

Architect: Julia Morgan

Footprint: 3,496 square feet (4 bedrooms, 3.5 baths)

Lot Size: 0.2 Acres

From the Agent: "At the top of Rose Walk in Berkeley’s North Hills stands a home that embodies local history: 1400 Le Roy Avenue, an Arts and Crafts residence designed by pioneering architect Julia Morgan. Morgan, California’s first licensed female architect and the first woman admitted to Paris’s École des Beaux-Arts, would go on to design over 700 buildings including Hearst Castle, the Berkeley City Club, and the Asilomar Conference Grounds. The home is included within Berkeley’s landmark designation of Rose Walk, recognizing both the Maybeck-designed pedestrian corridor and the exceptional collection of homes clustered around it. The home has been thoughtfully updated over the years while maintaining its architectural integrity, offering the character and craftsmanship of a Julia Morgan design with the comfort expected in a contemporary home."

Julia Morgan, the home's architect, received the American Institute of Architects Gold Medal posthumously in 2014. It is highest award from the organization.

Julia Morgan was posthumously awarded the American Institute of Architects Gold Medal—the organization’s highest honor—in 2014.

Photo by Aerial Canvas

Original Morgan details including multi-pane wood windows, built-in elements, and a living room fireplace remain beautifully intact. Every detail feels intentional.

Many of the home’s original details have been preserved, including its multipane wood windows, built-ins, and living room fireplace.

Photo by Aerial Canvas

Jessie D. Wallace (1869-1920) was a professional stenographer who enrolled at UC Berkeley at age 42, graduating in 1914. Her decision to commission Julia Morgan reflected broader patterns in Morgan’s early practice: many clients were women (educators, professionals, civic leaders) seeking homes that reflected new ideas about women’s roles in society.

The home was commissioned by stenographer Jessie D. Wallace. Like many of Morgan’s early clients, she was a professional at a time when women’s roles in the workforce were shifting.

Photo by Aerial Canvas

See the full story on Dwell.com: California’s First Woman Architect Designed This 1911 Berkeley Home Seeking $2.7M
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