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Design
With the evolution of design, there’ s been a strong shift toward minimalism- editing pieces down to their simplest forms for mass production. And while there’ s a lot of beauty and efficiency in that, I’ ve always felt that something gets lost along the way. The handcrafted charm, the artistry, the imperfections that give an object soul, those things can’ t be replicated. That’ s why I believe it’ s so important to preserve the historic elements in older properties. They add something rare and irreplaceable to a space: depth, character, and a connection to the past.
What draws me most to working with historic buildings is that sense of story embedded in the walls. There’ s a soul to these spaces that speaks to a different era of craftsmanship and intention. When I take on a project in a historic home or building, I feel a deep sense of responsibility. I’ m not there to overwrite what already exists, but rather, I’ m there to be a steward of the past. That shapes my entire creative process. I design with reverence, always aiming to enhance the original narrative while introducing elements of comfort, function, and modern ease.
Materials and finishes
Living and working in Chicago, I’ m surrounded by incredible architectural heritage- Gothic Revival, Prairie School, Art Deco, midcentury gems. That history influences everything I do. In my work, I look to create visual and material bridges including clean-lined furnishings next to original stone, preserved millwork within simplified layouts. A recent project of ours is in the historic Tribune Tower in Chicago. I tackled this space by embracing the ornate Gothic bones of the building while softening the interiors with quiet, contemporary layers that support modern life without competing with the architecture.
When I begin a project in a historic building, the first thing I do is assess what must be protected including stonework, plaster details, original moldings, and architectural framing. I consider how these elements shape the energy and flow of the space. Additionally, light is also a big factor: how it moves through the room, how we can enhance it without disrupting the integrity of the structure.
Working with the right partners is essential in preservation projects. I prioritize artisans and collaborators who understand subtlety and I celebrate people trained in traditional methods, like plasterwork, stone fabrication, and specialty woodworking. Preservation isn’ t a linear process. It requires collaboration, adaptability, and sensitivity. I look for teams that understand that and are open to dialogue throughout.
When it comes to selecting materials and finishes, I often start by referencing what’ s already there and photographing original details, making samples, and sourcing periodappropriate finishes. From there, I reinterpret those elements for modern use. I might take a traditional profile and adjust the scale or use a classic finish on a more contemporary silhouette. It’ s all about honoring the past without being too literal.
Designing a residential space inside the Tribune Tower was truly wonderful. The building carries so much history. Its soaring ceilings, intricate stonework, and Gothic arches create a tone of grandeur. My role was to meet that grandeur with restraint- to allow the architecture to breathe. One of my favorite moments from that project is a custom dining table we designed. It features a richly grained wood top with a contemporary base. It doesn’ t try to mimic the architecture, but it belongs in the space. That juxtaposition, old and new, weight and lightness, is at the heart of what I love about this work.
One of the biggest challenges we faced in the Tribune Tower was the scale of the space. Standard furnishings felt dwarfed next to the dramatic arches and soaring ceilings. We had to scale everything up in both proportion
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