The Smith residence entrance. Photo by Anne Gummerson
Side-by-side comparisons of two homes, one builder, two doors apart
Good design is about responding to the client and the environment, says Gilday architect Robert Laird. “You have to be able to listen to the client and understand what they are after.” This methodology is key, especially when trying to craft homes from two very similar spaces for two very dissimilar couples (who, for the sake of their privacy, we will refer to as the Smiths and the Joneses).
The Smiths, who needed a regular place to live and entertain while on business in DC, hired Gilday to update and balance the dated, 1970s town home they purchased in Kalorama Square, a community in the heart of the city. They wanted the interior to coincide with the red brick exterior in the Federal style with classically traditional details that accurately and consistently reflected the period. Revamping the home’s layout, Gilday Renovations aligned and raised doorways, resized windows, added built-ins, and divided rooms. The home’s wall-to-wall carpeting was lifted revealing beautiful oak floors that were stained and refinished; air conditioning grates in the floor were also crafted from wood to blend with the flooring. Working with interior designer Jeffrey Hitchcock from their home state of California, the Smiths replaced the existing trim package with unusual moldings that had a stronger profile and presence. Hitchcock obtained the curved molding design from Hollywood’s Paramount Studios, which runs a molding shop on the side.
As the Smith project neared completion, Gilday Renovations was introduced to the couple in the town house two doors down. They, too, were in need of a comfortable space where they could be themselves and entertain. The Joneses, who were downsizing from their previous home, were impressed with the quality of the company’s work and reassured by Gilday’s knowledge of the Kalorama homes but wanted a much less traditional look than the Smiths’. More willing to take design risks than most, the Joneses describe their style as “modern with classic elements.” Gilday set about designing a transitional home that leaned towards the contemporary aesthetic. Working with decorative painter Jill Ionta, the homeowners selected faux finishes for the front hall ceiling and upstairs guest bathroom. The couple wanted well-lit places for their eclectic art collection and ample room for their vast assortment of books. The floor on the fourth level, which would serve as the wife’s office and house her numerous files and books, was reinforced to meet library specifications.
Smith kitchen with classic white cabinetry and professional grade appliances opens to a formal breakfast room. Photo by Greg Hadley
The most defining architectural element in the Jones home is an artistic staircase that openly connects levels of the house. A flight of stairs was added to provide easy access to the fourth level, previously reached by a small elevator. “There were a lot of different conditions for each flight of stairs,” says Laird, “but we wanted a consistent handrail all the way up.” Replacing the original iron rail, which was, he says, “your garden-variety handrail,” Laird fashioned a spectacular iron and brass railing based on drawings by Dr. Jones. Characterized by curves and twists, the design was derived from medical symbols. The stair footprint in the Jones home was a mirror image of that in the Smith home before its layout was altered. Like the Joneses, the Smiths also replaced the existing iron railing, but they did so using more traditional architectural elements—a painted wood handrail and slim, turned balusters.
The view from the Smiths’ front entry leads past the stairs to the back dining room, which runs the width of the house. This commodious room is set for 8 but can be expanded if the homeowners are entertaining a large group. To add elegance in the formal space, Gilday created a fireplace flanked by arched built-in cabinets made all the more interesting by rounded backs and shell detailing. French doors and side panels replaced the aluminum glass sliders that once led to the exterior patio. Increasing the size of these doors kept them in tune with the ceiling height and lightened the room. The doors are defined with larger moldings and plinth blocks.
The Jones dining room extends the width of their home, as well, and is also used for entertaining. However, where the Smiths used floor to ceiling windows and doors to create a generous feel, the Joneses used reflective surfaces to achieve an open, sleek look. The couple incorporated French doors, too, but made them less central to the design. Instead, the space is characterized by a floating banquette with black honed countertop. This artistic built-in was a tricky project for Gilday, since the piece had to hover without a visible foundation. The use of structural steel gave it needed support. Above the cabinet, glass shelves suspended on cables and backed by a mirror also give the illusion of floating.
When they are not entertaining, the Joneses like to spend time together in the kitchen, so wanted a space large enough to comfortably fit two yet cozy enough to linger after a meal. They also needed accommodations for their many books and a desk at which to work. Working closely with Gilday’s Leslie Roosevelt, CKD, the couple selected cherry inset cabinets and an earthy slate tile backsplash to give the room a welcoming and timeless feel, while stainless steel accents on square trim and linear drawer and cabinet pulls maintain a contemporary flair. The Joneses’ love for cooking had much influence over the selection and placement of appliances including two sinks—one for prep and another for clean-up, an instant hot water faucet, and a 6-burner Thermador cooktop. The two often watch the news while cooking, so Gilday included a swivel TV in the workstation. An expansive bookcase in the breakfast area houses cookbooks and other volumes, visually defining the nook.
In opposition to the dark wood and earthy hues of the Jones kitchen, the Smith kitchen was refinished in all white and accented with Carrara marble counters and stainless steel appliances. The space was originally a galley kitchen, and beyond some appliance locations, the group did not stray far from this layout. As with other areas of the home, the moldings in the Smith kitchen served an important, unifying role. Raising the cabinets to ceiling height, Gilday created a seamless transition between the cabinetry and the crown molding. Classic symmetry was achieved with open shelving opposite the ventilation hood and floor to ceiling cabinets opposite the refrigerator; however, the use of stainless steel as well as a sleek tile backsplash gave this kitchen a less traditional feel than the rest of the house. Both the Smith and Jones homes illustrate that a kitchen can be an ideal area to think outside the house’s overall style.
The couples’ bathrooms are no less expressive. The Joneses’ front powder room features custom painting with tonally graduated bands of aqua blue. The countertop sink is formed by a single piece of blue glass that echoes the room’s frosted glass door. With help from Ellen Gilday, CKD, CBD, the Joneses find the powder room’s open feel and interesting color pattern refreshing. Its clean lines and unique details define the contemporary space.
Contemporary fixtures and vanity balance with tonally graduated bands of aqua blue in the Jones powder room. Photo by Anne Gummerson
Although it, too, has a clean look, Mrs. Smith’s master bathroom tells a much different tale than the Joneses’ bathroom spaces. A Carrara marble shower lining, white marble wainscoting, and diagonal marble flooring brighten the bathroom and lay the foundation for its traditional style. A black tile pattern provides another layer of interest on the floor that is repeated in a patterned band along the top of the wainscoting. Gilday Renovations completed the design with Waterworks fixtures and countertop nosing.
The layouts of the Smith and Jones family rooms speak of the two homes’ similar beginnings. Both spaces are arranged around intimate fireplaces bordered by built-ins, and both utilize light from multiple French doors. Their individual styles, however, speak of their owners, resulting in distinct yet familiar spaces. The Smiths didn’t like the flow of the open second level, so Gilday Renovations divided the space into a family den, living room, and foyer at the top of the stairs. The family room contains a wet bar enclosed with pocket doors. Its white painted cabinets are an extension of the white built-ins on either side of the fireplace. The large crown molding is again consistent with that used in the lower level of the house, with lines repeated in the mantel. Rich, neutral paint color and complementary furniture give the room a calm, warm elegance.
The Jones library family room makes more use of color—vibrant turquoise paint contrasts the high mahogany paneling. Stacked with books, the mahogany bookcases are necessary storage for the academic couple. A pre-fabricated stone fireplace, which “looks almost Maroque,” according to Laird, develops the room with curves and a burst of cool white. Although architecturally less contemporary than the rest of the Jones house, the family room comfortably embraces modern elements such as the Eames lounge chairs.
The Jones library family room makes more use of color—vibrant turquoise paint contrasts the high mahogany paneling. Stacked with books, the mahogany bookcases are necessary storage for the academic couple. A pre-fabricated stone fireplace, which “looks almost Maroque,” according to Laird, develops the room with curves and a burst of cool white. Although architecturally less contemporary than the rest of the Jones house, the family room comfortably embraces modern elements such as the Eames lounge chairs.
The open library doorway leads to the Jones living room, where color takes a back seat to shape and line. The artistic staircase, extending to the third level, forms an architectural sculpture in the living room that is easily appreciated against the bright white walls. White sofas and white bookshelves allow the Joneses’ books, art collection, and piano to speak for the room.
The Smith living room relates to the family room and foyer with the same paint color, identical trim and molding, and another formal fireplace. Combining the warm color with neutral furniture forms a monotone design that is developed through pattern and texture. Like the Joneses, the Smiths wanted their artwork to stand strong in the living room space—the William Wegman photograph series, which looks like rocks against an ocean horizon but truly depicts sleeping dogs, gives a punch of color that catches the eye against the gold wall.
The Smith and Jones homes reside in the same row of town houses in the neighborhood. Each faces Kalorama’s central courtyard in the front and a public park in the rear, allowing sunlight to fill their interiors. Originally constructed in the early 1970s, these 5,000-square-foot homes boast high ceilings and large, gracious rooms laid out in similar fashion. But with an appreciation of different architectural styles and an understanding of what makes them work plus input and direction from the clients, Gilday Renovations was able to transform two very similar homes into unique spaces, each reflective of its individual owners, each played to a different tune.
Lauren Brooks is the former Assistant Editor of ChesapeakeHome.
Contacts:
Gilday Renovations: gilday.com or 301-565-4600
Jill Ionta Faux Finishes: 410-372-0030
