GRAPHĒ

Cabin Season Is Coming—and Here’s a Handmade Oregon Dream Home for $899K

Set on 40 acres, the residence was lovingly crafted by a woodworker using materials sourced from the surrounding mountains.

Set on 40 acres, this Oregon cabin was lovingly crafted by a woodworker using materials sourced from the surrounding mountains.

Location: 2603 Winona Rd, Grants Pass, Oregon

Price: $899,000

Year: 1975

Footprint: 2,897 Square Feet (3 Beds, 2 Baths)

Lot Size: 40 Acres

From the Listing: "In the mid ’70s, a Cal Arts student purchased a 40-acre wooded parcel with panoramic views of Walker Mountain and the surrounding hills, just north of Grants Pass, up a half-mile driveway surrounded by trees. The property was transformed under the skill of a talented artist/builder, from a modest Craftsman-inspired home into a family compound full of architectural wonder. The main residence is filled with stained-glass windows, custom cabinetry, and hand-shaved wood beams, crafted on-site from the owners’ woodworking shop. As years went by, the owners added a detached guest suite, a standalone rec room, several garages, wood and tool sheds, a barn that once housed goats and chickens, gardens and orchard spaces, a tennis court, and a backyard for lawn games. The property is full of native trees and has a seasonal stream and creek. From sunrise to sunset, the lighting and views throughout show why this special place was selected years ago to build a dream home, now available for a new owner to experience."

Native Douglas fir, oak, and Jeffrey Pine trees grow throughout the 40-acre property. — Native Douglas fir, oak, and Jeffrey pine trees grow throughout the 40-acre property.
Photo by Luis Gabriel

See the full story on Dwell.com: Cabin Season Is Coming—and Here’s a Handmade Oregon Dream Home for $899K
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The Staircase in This Renovated Spanish Flat Is Also a Storage Unit—and a Kitchen

The baby blue built-in maximizes utility in the compact 753-square-foot space.

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: Lastres, Spain

Architect: Extrarradio

Footprint: 753 square feet

Builder: Luis Galera

Photographer: Sara Cuerdo / @saracuerdo

From the Architect: "The intervention takes place in a traditional house in the historic center of Lastres, an area where local architecture combines thick masonry walls, small openings, and timber structures. Over time, the house had accumulated partitions, additions, and ceilings that reduced the free height and darkened the existing spaces. The project begins with a fundamental operation: clearing out the interior to enhance the original structural logic.

"All interior partitions are removed and the timber floor structures are exposed and reinforced. This gesture restores the full height of the main floor, improves cross-ventilation, and expands both interior views and views toward the sea. The existing structure becomes the expressive backbone of the project. With the space now open, the interior layout is organized through a series of infrastructure—furniture elements that replace traditional walls. These pieces integrate storage, kitchen, bathroom, and staircase, functioning as filters that organize the program without fragmenting the volume. The house is perceived as a single continuous space with different degrees of privacy.

"The furniture is built with simple geometries and soft blue and white tones that amplify natural light and highlight the presence of the dark timber beams. The kitchen and staircase are integrated into one of these volumes as a light piece that does not interrupt visual continuity. The bathroom is resolved within another of these volumes, ensuring privacy without closing the space up to the ceiling, which preserves the full perception of height. Wet areas are finished with durable materials and neutral colors that do not compete with the structure. The mezzanine, previously a residual space, is converted into a bedroom. Insulation is improved, the floor is regularized, and the sloping structure is left exposed."

See the full story on Dwell.com: The Staircase in This Renovated Spanish Flat Is Also a Storage Unit—and a Kitchen

The Midcentury House That Raised Me

My parents had their eyes on the Elroy Webber-designed home where I grew up for decades before we moved in. Watching them carefully make it ours was my first education as a design writer.

Emma Apple Chozick and her mom sit at a Saarinen Tulip table in their West Hartford, Connecticut, home.

Welcome to Living Landmark, an essay series about what it’s like to grow up in an architecturally important home.

"I drove by the house every afternoon in high school and would stop and look at it," my dad tells me. We’re sitting in the living room of the very house he’s describing, an early 1950s residence in his hometown of West Hartford, Connecticut, by prominent New England architect Elroy Webber. The low-slung midcentury home is where my parents raised my sister and me for most of our childhood. But for decades before they bought it in 2007, the wide-lot home wrapped in stone and spring wisteria, and tucked into a colonial neighborhood, was just an object of my dad’s affection. In the early ’90s, before my sister and I were born, my parents toured the house next door, also designed by Webber in the early ’50s. They walked through politely, but kept drifting toward the east-facing windows to peek into the neighboring Kaufman Home. They wished it had been the one for sale.

New England architect Elroy Webber designed the Kaufman House in the early 1950s. My dad (pictured right) has loved the property since his own childhood. — Emma Apple Chozick’s dad (pictured right) had his eye on the Elroy Webber-designed Kaufman House (pictured left, in the 1950s) since his own childhood.
From left: Photo by © Ezra Stoller/Esto; photo by Sophie Fabbri

It wasn’t. Instead, they bought a ranch-style house across town and slowly furnished it with the midcentury collector’s pieces they had always been drawn to: the Eames lounge my mom won at auction while hyperventilating over the price (it was, at the time, the most she had ever spent on any piece of furniture), a set of six Mies van der Rohe dining chairs, and what felt like an entire catalog’s worth of Alessi pieces from their wedding registry. It was the house my older sister and I each came home to as newborns—the backdrop to the early years of our family life, and while it wasn’t the midcentury residence my parents dreamed of, their design aesthetics and furnishings filled in the gaps.

The house was featured in a January 1958 issue of <i>House Beautiful </i>(pictured right). Emma (pictured left) and her family keep a stack of original copies of the issue on their coffee table. — The house was featured in a January 1958 issue of *House Beautiful* (pictured right). Emma (pictured left) and her family keep a stack of original copies of the issue on their coffee table.
Photo: Sophie Fabbri

The Kaufman Home reappeared in our lives in spring 2007, when my sister and I were in elementary school. My parents had contractors scheduled to start an addition on the ranch, plans already drawn. That morning, before a zoning hearing, my dad checked the real estate listings, "just one more time," he tells me. There it was: the long, single-level house with a long trellis wrapped in wisteria leading up to the bright-yellow front door, finally for sale. They toured it immediately and made an offer that afternoon. It was my mom’s birthday, and my dad hadn’t gotten her a gift yet. "So he got me our house," she laughs.

Completed for its namesake homeowners and their two daughters, the house was a deeply personal commission. While studying at Harvard, Webber spent the summer of 1929 working at Le Corbusier’s Paris atelier, later writing that he returned to the U.S. "supercharged with the modern movement," and finished his architecture degree at Massachusetts Institute of Technology. The ideas he brought back took a distinct form in the Connecticut Valley, where his work stood apart not only from the region’s dominant colonial architecture, but also from the glass-heavy modern homes being built by his contemporaries, which were often critiqued for making homeowners feel exposed. Ironically, it continued to invite the same kind of attention. Even as a kid, I remember playing in the yard while passersby paused on the sidewalk to stare at the house, much in the same way my dad once had.

Webber’s original vision remains largely intact in many of the spaces including the living room (pictured right in the 1950s, and left in its current state).
From left: Photo by Sophie Fabbri; photo by © Ezra Stoller/Esto

See the full story on Dwell.com: The Midcentury House That Raised Me
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Who Needs an Ocean View? Not This Introverted Australian Home

The owners wanted to be shielded by trees with an inward-looking floor plan centered around a courtyard.

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: Scarborough, Australia

Architect: Stephen Collier Architects / @scarchitects

Footprint: 1,722 square feet

Structural Engineer: PMI Engineers

Landscape Architect: Jane Irwin Landscape Architecture

Cabinetry: Hammercraft

Photographer: Tom Ferguson / @tfadtomferguson

From the Architect: "This is a house about both hiding and stepping out. While most houses in the area seek ocean views, this house looks inward and upward to the sky. It’s a house designed for two introverts, both men, who wanted their home to feel like a safe haven. The house is private but without ever feeling closed off to the nature around it: the escarpment, the trees, the stars. It’s in a suburban street and yet looking out of every window all one sees is trees and their canopies.

"The design responds to multiple challenges: a steep incline, a narrow triangular site located hard against a railway line, mature trees we wanted to preserve, the risk of landslide meaning little to no excavation, and as always on this land, the risk of bushfire. We also had a modest budget to contend with, meaning we had to keep things simple and choose wisely on what we might splurge on. The outside is therefore utilitarian; the walls sheeted with cheap fiber cement and painted in a muted tone to satisfy the local council. The interior, by way of contrast, is richer and more colorful.

"As an architect, I like it when something is both practical and beautiful, and when a design decision results in something that ticks more than one box. Simple practical solutions to keep gutters free of debris and to be able clean gutters safely can also produce a great internal space. In gave us 13-foot-high ceilings uniformly around the outside edge of the house. Here, all roofs slope down into interior and all the gutters can be regularly cleaned (by us) on a small ladder. If there is a serious bushfire, we can easily block the downpipes and (with a nearby hose) get a curtain of water falling over the large glass doors of the courtyard.

"The site is triangular and it had nine mature trees in and around it, including a magnificent Moreton Bay fig. To fit the house on the site and keep all the trees, we had to back up to the rear boundary. The structure is a steel frame supported on only four columns piered down to rock. It is rhomboidal in plan to fit the site. The wall, floor, and roof elements were all prefabricated off-site and craned in. The shell was erected in less than a week. Consideration was also given to low-carbon, sustainable materials (locally sourced where possible) including no VOC mineral-silicate paints.

"The house stays comfortable in summer thanks to the tiled floors, cross-ventilation, and a surrounding tree canopy. There are ceiling fans but no air-conditioning. In winter, solar-powered under-floor heating and double glazing keep the house toasty. Local tradespeople and materials were used as much as possible. All the windows and doors use timber recycled from trees originally felled from and used in the Illawarra."

See the full story on Dwell.com: Who Needs an Ocean View? Not This Introverted Australian Home

For €495K, You Can Co-Own a New Vipp Villa in Mallorca

The Danish design brand’s second property offering is available through a co-ownership model with 12 shares available.

The grounds feature a saltwater pool, multiple landscaped gardens, and various private terraces.

Location: Mallorca, Spain

Price: €495,000 (approximately $577,598 USD)

Architect: AP3+

Footprint: 6,361 Square Feet (5 Beds, 6 Baths)

Lot Size: 3.5 Acres

From the Listing: "From a pedal bin to architectural vacation homes, Danish design brand Vipp continues expanding its universe with the launch of Finca Selva, Mallorca—the second property in the Vipp Residences portfolio. Located in the tranquil village of Selva at the foot of Mallorca’s UNESCO-protected Serra de Tramuntana mountains, Finca Selva combines traditional Balearic architecture with Vipp’s Scandinavian interior universe. Designed by local architectural studio AP3+, the 6,361-square-foot villa is crafted using traditional Mallorcan building techniques and local stone, balancing rustic warmth with contemporary simplicity. Bathed in light and surrounded by over three and a half acres of private land, the residence features five bedrooms, expansive terraces, landscaped gardens, a saltwater pool, and sweeping views stretching from the mountains to the Bay of Alcúdia. Inside, wood-beamed ceilings, tactile natural materials, and carefully curated interiors create a calm and immersive atmosphere rooted in both Mediterranean and Nordic traditions. The property is offered through a 1/12 ownership model, allowing owners to enjoy the experience of a fully serviced architectural retreat at a fraction of the cost and hassle associated with traditional second-home ownership. Owners of a Vipp Residence also gain privileged access to the wider Vipp ecosystem, including benefits and preferred access to Vipp Guesthouses across the globe—from Upstate New York and Lofoten to Mexico and Tasmania. Finca Selva launches May 12, with owner access beginning July 2026."

The thick masonry walls use stone sourced from a local quarry. — The thick masonry walls are made of stone sourced from a local quarry.
Photo courtesy of Vipp

See the full story on Dwell.com: For €495K, You Can Co-Own a New Vipp Villa in Mallorca
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For $1.2M, You Can Score a Landmark Craftsman Home in Los Angeles

The 1908 A.C. Tobias Residence has original millwork, an updated kitchen, and a lush site overflowing with citrus trees and succulents.

The current owners have carefully renovated the home to preserve its original character, while enhancing its systems for daily life.

Location: 2915 S Budlong Ave, Los Angeles, California

Price: $1,249,000

Footprint: 2,237 Square Feet (2 Beds, 2 Baths)

Architects: George J. Webster and Neal Dow Barker

Year Built: 1908

From the Agent: "The A.C. Tobias Residence is a designated Los Angeles Historic-Cultural Monument and a remarkable expression of early Arts and Crafts design. Designed in 1908 by George J. Webster and Neal Dow Barker as the personal residence of developer Archibald Clark Tobias, the home was built during Los Angeles’s transformation from a landscape of orange groves and farmland into a growing metropolis. Today, it stands as an enduring example of the craftsmanship, materials, and thoughtful design that defined the era. Richly stained woodwork, leaded glass windows, box-beam ceilings, built-in cabinetry, and period lighting create a sequence of spaces defined by warmth, scale, and craftsmanship. The kitchen was reimagined with custom millwork cabinetry, African mahogany counters, a copper sink, unlacquered brass fixtures, vintage lighting, and a restored vintage refrigerator. The laundry room was rebuilt with custom cabinetry, period-appropriate hardware, and the restoration of the home’s original 1908 utility sink. A charming guest bath retains its vintage character with restored wood detailing and classic proportions, while the primary suite introduces an en suite bath whose materials and craftsmanship pay homage to the home’s Arts and Crafts roots."

The deep front porch provides welcome shade on sunny days in Los Angeles.
Photo courtesy of Character Homes

The formal living and dining rooms are anchored by thick wood columns. — The living and dining rooms are anchored by thick wood posts and beams.
Photo courtesy of Character Homes

See the full story on Dwell.com: For $1.2M, You Can Score a Landmark Craftsman Home in Los Angeles
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The Green Roof of This Australian Home Is Basically a Neighborhood Park

It stretches down to meet the sidewalk at the end of the cul-de-sac, creating a social space for the block.

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: Northcote, Australia

Architect: Prior Barraclough / @priorbarraclough

Footprint: 2,045 square foot

Builder: Camson Homes

Structural Engineer: Argall

Cabinetry: Limitless Joinery

Photographer: Ben Hosking / @benhoskingphotographer

From the Architect: "At the end of a quiet cul-de-sac in Northcote, the Bank Street House reimagines the suburban home through its modest scale and generous engagement with both landscape and community. The project replaces a structurally compromised two-story dwelling that was both spatially inefficient and visually overbearing within a streetscape of modest, single-story houses. The clients, a couple with three young children, sought a larger garden, an environmentally responsive home, and a stronger connection to the cul-de-sac, which transforms each afternoon and weekend into a lively communal space animated by neighborhood children. In response, the new house is a compact, single-story dwelling with a large, habitable green roof that effectively doubles the site’s usable outdoor space. From above, the entire site now reads as a continuous, expansive garden.

"The front facade aligns with neighboring dwellings, folding gently to frame the court and stepping down to meet the footpath. This gesture transforms the roof into an extension of the public realm, blurring the threshold between public and private space and allowing the informal play of the court to extend up onto the house itself.

"To accommodate the functions of the former two-story dwelling within a smaller envelope, the plan is compact and efficient. Organized in a dumbbell configuration, four modest rooms sit between two living zones, one oriented toward the rear garden, the other addressing the street. The street-facing living space is multifunctional, operating as lounge, library, study, entry gallery, and occasional sleeping area for children’s sleepovers. Slightly sunken below ground, it achieves privacy without sacrificing light or outlook.

"The design deliberately resists several suburban conventions typically included in an architectural brief: there is no en suite for every bedroom, no walk-in pantry, no garage, and no front fence. Instead, the architecture privileges openness, restraint, and community connection over domestic excess. The house employs a modicum of window types. A large operable glazed wall opens to the rear garden; a fixed triangular window captures views to the street; and sliding timber-lined panels, seamlessly integrated into the east and west facades, provide nuanced control of light, ventilation, and privacy. These panels eliminate conventional window hardware, concealing operability and allowing the exterior to subtly transform throughout the day. In one position, they admit daylight and read as minimalist timber walls punctuated by fixed glass; in another, they ventilate the interior; in a third, they black out spaces for sleeping; and in a fourth, they shield interiors from sun and heat, significantly improving thermal performance.

"Materially, the house is unified by an almost singular palette of reclaimed timber, used for cladding, windows, doors, and joinery, imbuing the project with a tactile warmth and cohesion. Internally, the timber is milled in varied profiles to form integrated pulls, hooks, shelving, desks, benches, air-con grills, and a picture rail system. A rigorous grid, derived from the width of a timber board, organizes every architectural element, from facade cladding to interior joinery, aligning components in plan and section to create visual clarity and precision. As this grid intersects the angled front facade, it governs all inflection points, alignments, and junctions in three dimensions.

"The Bank Street House draws on the lineage of landform architecture, from Adalberto Libera’s Villa Malaparte to Barry Marshall’s Phillip Island House, yet without monumentality. Instead, it nestles quietly into its suburban context, prioritizing community, sustainability, and spatial richness over scale."