art of con­ceal­ment

Old House Journal - - Design -

De­spite hav­ing French doors on two sides of the room, large dou­ble win­dows, and a white-painted ceil­ing, the din­ing room in this 1897 Tudor Revival ap­peared dark and two-di­men­sional. A garage hard by the house meant the blinds on the win­dow fac­ing the ta­ble were kept closed, keep­ing the room per­pet­u­ally dim. David Heide De­sign Stu­dio com­pletely recon­ceived the wall,

deep­en­ing the ex­ist­ing arched re­cess to ac­com­mo­date a new, pe­riod-style buf­fet with art-glass cab­i­nets and a beveled­mir­ror back­splash. Heide re­placed the win­dows over the buf­fet with a three­p­anel art-glass win­dow fea­tur­ing clear and pas­tel translu­cent and bull’s-eye glass. Pe­riod dou­ble sconces on ei­ther side of the trip­tych play up light and the sparkle of the ex­ist­ing crys­tal chan­de­lier. All of the ex­tra glaz­ing re­flects and am­pli­fies the light com­ing into the room.

While the rhythms of the buf­fet add an­other three-di­men­sional el­e­ment, Heide fur­ther en­hanced the room’s ar­chi­tec­tural lines with a fa­vorite paint pal­ette: soft cin­na­mon brown on walls and pale rose on the ceil­ing. “It makes the white on the wood­work pop,” says Heide. “You see the ar­chi­tec­ture in a dif­fer­ent way when there is con­trast be­tween the wall and the cas­ing.”

A re-cre­ation of a grand built-in buf­fet and a trip­tych art-glass win­dow brought life to a list­less Tudor Revival din­ing room and also re­solved a prob­lem: the orig­i­nal win­dows had looked out over a garage roof just seven feet away.

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