LA-based Estee Stanley advises Ashley Olsen and Jessica Biel on style matters and calls Justin Timberlake "the brother I never had." What's the draw? Her aesthetic is subtle and sophisticated; she favors faded over fadish, and she takes a commonsense approach ("I never want my clients to spend money on something they're not going to love in 10 years," she says. "I want everything to be sexy and comfortable"). Join us on a tour of her Hancock Park house, a labor of love (and economy).

Stanley is nothing if not practical (and brutally honest). "I wanted to live in Hancock Park, and a $3 million house was not in my budget. I'm not one for small-space living," she says. So when she happened upon a 4,500-square-foot rental duplex on the edge of her desired neighborhood, she took a leap of faith. "I lived in the upstairs apartment and started renovating one room at a time. I added a staircase, ripped out walls, and reconfigured the living room. One step at a time."

To see more of her work, go to Estee Stanley Styling & Interior Design.

N.B.: Maybe you already know this, but Timberlake and Stanley have collaborated on a collection for HomeMint, featuring goods from some our favorite designers (Matteo linens, Swans Island, and Canvas) at appealing prices.

Photography by Laure Joliet.

Above: Stanley likes a faded, been-there-forever look; the rug is from Lawrence of La Brea.

Above: "I take my design cues from Europe," Stanley says. "Nothing matches exactly. I like to use a mix of pieces—a sofa and a white baby grand piano from my grandmother, for example."

Above: A Brahms Mount Arcadia Melon Blanket, hand woven in Maine from cotton and linen, is on offer at HomeMint.

Above: A live-edge coffee table coincides with a sinuous linen-covered chaise.

Above: Stanley layers mementos to create a sense of timelessness.

Above: Stanley papered a wall in Willow Boughs, a classic William Morris pattern.

Above: An essential element for entertaining: a wine refrigerator.

Above: A giant railway clock keeps time in the kitchen.

Above: "I hate normal lighting," Stanley says. "All my lighting comes from vintage sources like 1st Dibs and Obsolete in Los Angeles."

Above: French barstools, marble countertops: are we in Paris?

Above: Stanley is known for her entertaining prowess; a necessity: the formal dining room.

Above: The Old World look continues in the master bedroom.

Above: A rumpled leather sofa bookends the bed.

Above: A vintage carpet, a portrait, a skull animate a corner of the bedroom.

Above: Stanley's bath features traditional window treatments and a vintage carpet.

Above: Even the children's rooms have a sophisticated edge.

Above: The vintage overdyed nuLoom pillow is available from HomeMint.

Above: A canvas teepee provides an instant hideaway.

Above: A collection of birdhouse lights.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on September 10, 2012.

Ever secretly wished your child could pass for a Parisian? California-based Poppy Store is your ally.

With two stores on the West coast—one in Marin (shown below) and another in Brentwood Country Mart—owners Heather Whitney Ashforth and Jenny Belushi have managed to source an array of European-styled clothing, much of which is not easily found Stateside. The duo's newest store, located in the Marin Country Mart, is light, airy, and refreshingly child-friendly, with a small table for the artistically inclined toddler, a bird cage where children endlessly coo at the birds, and tables and drawers with clothes and toys on display. For more, to to Poppy Store.

Photography by Mimi Giboin for Remodelista. To see the organic wood sculptures that serve as a children's play area at the Marin Country Mart, go to The Best Play Structure Ever on Gardenista.

Above: The original Brentwood store has a small bird cage; the Marin Country Mart location is anchored by a fanciful cage with five inhabitants.

Above: The interior is painted in 12 different shades of Farrow & Ball paint. Style arbiter Greg Turpan (who along with Wendy Posard helped with the interiors) suggested a medley of shades ranging from Farrow & Ball's All White to Medium Grey.

Above: A fabric mobile by Brooklyn-based Tamar Mogendorff.

Above: Child-height rails with clothing and a small armchair for the fatigued child.

Above: Handmade dolls from Jess Brown.

Above: A large skylight above the entry floods the interior with light throughout the day.

Above: The London print is by Wayne Pate, one of several of his city prints on display.

N.B. For more Shopper's Diary posts, click here.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on August 24, 2012.

Clothing designer Erica Tanov began her business in New York toting a suitcase with six pieces of lingerie inside made from handkerchief silk. "There was no business plan," she says, "it was very loose—I was just doing things I liked."

At the time, the recent Parsons School of Design grad had gone to work for designer Rebecca Moses, an outfit small enough that she found herself quickly becoming familiar with all aspects of the design business. "I appreciated the art of fashion, but I became disillusioned by the whole Seventh Avenue fashion scene," she says. She left to work on her own line of bras, chemises, and slip dresses: in short, the pieces that formed her collection in the suitcase. When a large order came in for her lingerie, she realized she was in business. The Northern Californian native returned west in 1994 because, as she notes, "I was so saturated with fashion and wasn't feeling inspired; it was more refreshing to come back here." She built her line to a full ready-to-wear collection, but the delicate silk slips from her initial line are still a mainstay. Like much of her work, they have a timeless quality; Tanov's skill lies in creating pieces which are less about fashion and more about the quality of the fabric. As she puts it, "It's not just designing clothing, it's creating the whole mode and feeling that completes the picture."

Photography by Mimi Giboin for Remodelista.

Above: Erica standing in front of the bronzed wall of her Marin store in an Edo top in pink railway tapestry ($345), one of her own designs. When she's not wearing her own pieces, she's a fan of Megan Park's clothing.

Above; On her wrist, gold bracelets by Argentinian jeweler Maria Scalise. The silver bracelets are from East Coast jewelry designer and silversmith Sarah McGuire. On the other wrist, what looks to be a bangle turns out to be an elastic hair tie.

Remodelista: What are you working on now?

Erica Tanov: I am on Spring 2013. For this current season I worked with local artist Emily Payne and created relief patterns of her work which I had printed on fabric. And I'm working with prints from artists at Creative Growth (the Oakland Art Center that serves adult artists with developmental, mental, and physical disabilities). It's so inspiring collaborating with people and so much more fun.

Above: A tassel necklace from Aleishall Girard Maxon (granddaughter of textile designer Alexander Girard). Aleishall began selling her pieces when she worked at the Erica Tanov New York store, and the two have collaborated ever since. The necklace is available at Erica Tanov for $200. To see more of Girard Maxon's work, go to Studio Deseo.

Above: in the bowl are leather sandals from Miel de Abeja for $88.

RM: On your feet?

ET: I love flip flops, especially the cheap $5 ones from the local store. I also like to wear Roberto del Carlo and Chie Mihara.

Above:White sheep fur throw; $1,850 at Erica Tanov.

RM: Currently coveting?

ET: I really like this white sheep fur throw. I would put it on a bed. I prefer luxurious things that don't scream expensive. It doesn't have to look like it cost a million dollars even if it did. It's about the mix of things; it's a balance and blend.

Above: Makeup bags by Shawn Burke, our go-to makeup artist. The bags are $120 to $205, depending on size.

RM: Makeup essentials?

ET: My lipstick is by Julie Hewett in my favorite color Amelie; unfortunately they don't make it anymore. Shawn gave me the last stick. (Serge Lutens makes a similar color available at Barneys called Mauve de Swann; $75). I use a Laura Mercier mascara (the Long Lash is $24 from Sephora) and a powder blush called Shadore Pure Powder Glow by Kevyn Aucoin; $37 from Amazon.

ET: I also use Rodin Face Oil; it's the best you can do for your skin. It's made by Linda Rodin, a model turned stylist. She uses 11 essential oils with a jasmine base; $150 from Rodin. Shawn also turned me on to the Japanese brand Komenuka Bijin I use their hand cream, face cream, and cleanser.

Above: Natural all-healing perfumes by Perfumera Curandera, created by Leanne Hirsh, who spent 18 years in the Amazon forests. Available at Erica Tanov.

RM: Scent of choice?

ET:"I am working with Lurk in New York, a company that make essential natural oils, to create a custom scent based on boronia. I discovered it in a nursery and loved the smell. Boronia is a shrub with a burgundy flower and a chartreuse inside; it only blooms for two months. It's intoxicating and fresh, not super floral. I though I could use boronia on its own, but it turns our that you can't just have one scent for a perfume, it needs to be a blend. It's really fun and exciting doing this; the key is to work with people you love, that's the point."

RM: What's next?

ET: I would love to work on a hotel project, to create an experience. I don't stay in a lot of hotels but I feel when people stay somewhere they should feel surrounded by beauty. They should fell pampered but not in an uptight glaringly expensive way—it should be sumptuous and feel good.

Ed. Note: We think Berkeley's Claremont Hotel would make an excellent first project. Also, Erica Tanov is holding a book signing on Saturday, June 30th, at her Marin store with Ngoc Minh Ngo, for her book Bringing Nature Home. (Erica's house appears in several of the photographs.)

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on June 15, 2012.

We've been prowling around the Marin Country Mart since Jim Rosenfield took it on as a project (he's the force behind the Brentwood Country Mart in Los Angeles). Among the many spaces we admire? Rosenfield's own office, where he conducts his daily business.

For his own Gold LEED certified offices, Rosenfield wanted a place that felt like home. "I love work," he says, "and I want the space to feel like home, since this is where I spend a lot of my time." It's also a showcase of sorts for his highly evolved aesthetic: "This is a place where people come to see the potential of the spaces."

Rosenfield's profession is shopping for shops. As owner of the reimagined Marin Country Mart (he also owns the Brentwood Country Mart and the Montecito Country Mart), he's always on the lookout for like-minded retail and restaurant talent. He has a meticulous eye for design, and oversees the look and feel of each of the stores, either collaborating with the owners or taking on the design himself.

Photography by Mimi Giboin for Remodelista.

Above: Rosenfield worked with architect Hans Baldauf of BCV Architects; initially, they discussed opening up the space, but in the end they preserved the original wall structures, opening up the ceiling where possible and relying on barn doors to connect the work space. A blue and white platter from Heritage Culinary Artifacts in Napa's Oxbow Market anchors the long conference table.

Above: Rosenfield's office is dominated by a vintage architect's light that Ray Azoulay at Obsolete found for him (the lamp moves the breadth of the room, and can be raised or lowered as needed). He found the metal cafe chairs in Napa and had them powder-coated black. Throughout the office, Rosenfield used paints from Farrow & Ball in a palette of Down Pipe, Pigeon, and All White.

Above: The custom conference table was inspired by a surfboard; made by Scott Constable of Wowhaus, the hollow top sits on walnut legs. The handle on the sliding barn door to the conference room is a trowel used for plastering that Rosenfield sourced at the local hardware store (he first noted them being used as handles for trash-can lids at a resort).

Above: Rosenfield has long admired the wooden booths upstairs at Chez Panisse and designed something similar for his own offices. He consciously placed the untreated strips of fir to run both vertically and horizontally, a concept he borrowed from 20th century LA architect Gerard Colcord, whose work he admires.

Above: Rosenfield picked up a collection of framed pressed flowers on a trip.

Above: Rosenfield picked up the clubby sofa on a trip to the UK; a prototype cushion from A Detacher mingles with cushions made with fabric from Raoul Textiles. The Josef Frank table is from Svenkst Tenn (Rosefield and his wife fell in love with Frank fabrics on a recent trip to Copenhagen). "I collect stools made by local artisans," Rosenfield says. "The one closest to the wall was made for Alice Waters' Edible Schoolyard."

Above: The open kitchen features a Carrara marble counter, which extends into the office area to proved counter seating as well as to give the space a residential feel. The drawer handles come from Liz's Antique Hardware in LA (Rosenfield confesses to owning an extensive collection of hardware).

Above: The sink is a Shaw's Fireclay Apron Front and sits above a small refrigerator covered in a wood-paneled front.

Above: A wall of built-in Douglas fir bookshelves houses Rosenfield's collection of design and travel books, as well as the occasional spare door knob and hook.

Above: Rosefield was inspired by Tyler Hayes' BDDW space in New York, which has no baseboards. "It's a much nicer, cleaner look. Tyler takes it one step further, covering the outlet plates so there are only two small holes showing." The table in the entry area was purchased from Greg Turpan. The Ion Lamp and Steel Waste Basket are from Schoolhouse Electric.

Above: The chairs in the office entry are from Greg Turpan. The ceiling is insulated with wool, a detail Rosenfield admired on at trip to Daylesford Organic Farm in the UK. All of Rosenfield's properties feature Dutch doors which meant building extra-wide door frames to accommodate them.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on May 25, 2012.

When graphic designer (and Remodelista reader) Davy Dooms purchased an 850-square-foot apartment located in an Art Nouveau house in Antwerp, his goal was to create a blank canvas. “In all my work projects, I start by defining a working color palette,” he says. “I did the same thing in the decorating and furnishing of my own apartment."

Dooms took his color cues from a favorite exhibition poster; using a palette of "white, black, brown, gray, and orange; this is the color combination that makes it all seem whole,” he says. The rooms have a spacious feel, due to the high ceilings; Dooms' main intervention was to update the bedroom suite: He replaced the bathtub with a walk-in shower, installed a new sink, and painted the walls white to match the rest of the apartment. With his new blank canvas, he began layering in the only way he knows how.

Photography by Niko Caignie.

Above: A poster from Danish midcentury designer Poul Kjaerholm's retrospective in 2006 was the starting point for Dooms' color palette for the apartment.

Above: Dooms' styling inspiration is a mix of Scandinavian and American midcentury. The low shelving to the right is integral to the kitchen island.

Above: The kitchen cabinets and island, designed by architect Sofie De Clercq, were a minimalist insertion into the Art Nouveau shell and were installed by the previous owner. (For another look at a minimalist kitchen insertion into a 19th century building, see Minimalist Moves in a Chelsea Townhouse.)

Above: The wood in the midcentury tableware brings color into the otherwise black and white dining room.

Above: Dooms' color palette—white, black, brown, gray, and orange—comes together in the living room.

Above: In the dining room, Dooms' interventions were minimal. He rebuffed the existing floor and changed the window treatment.

Above: In the bedroom suite, Dooms installed a wood floor to match the existing ones in the dining room and living room.

Above: An Eames chair anchors a corner in the bedroom.

Above: A view from the bedroom to the living room.

Above: Dooms replaced the original sink and installed a new sink mirror and black countertop.

Above: The new walk-in shower replaced a bathtub; Dooms built a cabinet around the boiler.

Above L: The bedroom unit was originally painted green. Above R: A view into the bathroom reveals a corner of the bathtub which Dooms removed.

Above L: The original sink. Above R. The location of the bathtub, which Dooms replaced with a walk-in shower.

Above: The sole reminder of the apartment's green past: a cactus.

N.B. Interested in seeing other spaces with mid century furniture? See 725 images of Mid Century Furniture in our Gallery of rooms and spaces.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on September 18, 2012.

Something must be in the air: in the last month, two of us at Remodelista have knit our own Dutch-inspired wool throws.

This DIY throw blanket can be knit up over a short weekend if you're determined or in a few months (as in my case) if you work at a leisurely pace. I chose to use black wool for my blanket (my fellow editor Sarah used a natural shade), but any color will do. Here's how to make your own throw:

Above: My new throw, completed over the last couple of months (there's nothing like a simple stockinette stitch).

Above: The finished throw shows the lightly curled edges and the three-stitch border.

Above: Wool and the Gang's Peruvian Space Black Wool is comprised of midnight blue, forest green, and gray tweed to add a little dimension to the black color; $22 each.

Above: Large wooden knitting needles and the black knit throw blanket. Image via Mo by Maurice.

Materials:

6 skeins of thick black yarn.

12mm-sized circular knitting needles.

1 medium-sized crochet hook for weaving in the edges.

Instructions:

To make a 45-inch-square throw cast 80 stitches on to your 12mm knitting needles and work three rows of knitted stitches across.

You'll be knitting in the basic stockinette stitch, so following the three rows of selvedge, alternate knit rows with purl rows.

Knit the first 3 and last 3 stitches of each row for a selvedge to keep the edges from curling in (the danger of the stockinette stitch).

When you've reached a stopping point in the work or at about 43 inches, loosely bind off the final row ending in with a knitted stitch and not a purled one.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on April 6, 2012.

When you enter the portals of West Bridge, a new restaurant in the hipster neighborhood of Kendall Square, Cambridge, you're struck by the notion that this is something new—and at the same time very old; a place where history is honored in a modern way.

Taking its name from the original moniker of Boston's famous Longfellow Bridge (the one with the salt and pepper towers depicted in Make Way for Ducklings), West Bridge is housed in the former Boston Woven Hose Factory. To transform the industrial expanse into an inviting brasserie, West Bridge co-owners Alexis Gelburd-Kimler (of Craigie on Main and the South End's original Aquitaine) and Chef Matthew Gaudet (of New York's 11 Madison Park and Jean-Georges Aquavit, as well as Boston's Brasserie Jo) hired Brooklyn-based firm Crème Design Keeping many of the original features of this soaring space—including its open layout, 18-foot ceilings, and floor-to-ceiling windows—Crème's team used a combination of recycled materials and locally made fixtures and furniture to create something new.

Except where otherwise noted, all photography by Justine Hand for Remodelista.

Above: To maintain the open feel as much as possible, the private dining area is demarcated by generous folding glass doors.

Above: Industrial/rustic: the serene space in the private dining area is punctuated by Atelier 688's dramatic, rope chandelier.

Above: The Boston-based firm of Loki Custom Furniture created the long tables using recycled bowling alley floors.

Above: A seamless space: the view into the main dining area, which is decorated with in an original work by Boston-based artist Thomas Tietjen of ASIZ Industries. Except for Tietjen's work, co-owner Alexis Gelburd-­‐Kimler, wanted the palette at West Bridge kept to a minimum, with touches of warmth provided by natural elements: recycled woods and ropes.

Above: Bar manager Josh Taylor (formerly of Eastern Standard Kitchen & Drinks) prepares for the evening rush behind a bar made from reclaimed barn wood. The dark honey wood floors are recycled, too.

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Above: "Conant's Island" is a summery libation of house-infused cucumber vodka, rice vinegar, and green Tabasco (sounds unlikely but it's totally delicious and refreshing) sits atop West Bridge's long slate bar. Taylor works closely with Chef Gaudet to source and capture year-round New England flavors through house-­made infusions, bitters, and syrups.

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Above: An homage to the building's original product: vintage woven hoses flank the bar.

Above: Crisp white bar stools by Brooklyn-based Chair Factory line the bar. Photo by Matt Demers.

Above: Another chandelier by Atelier 688 provides a dramatic accent over the lounge area by the bar.

Above: Informal seating by the bar with Tolix-inspired stools from Pottery Barn. Photo by Matt Demers

Above: Downstairs at West Bridge, the words of Longfellow's poem "The Bridge" are stenciled onto a brick wall. After his death, the West Boston Bridge (which spans the Charles from Boston to Cambridge) was renamed the Longfellow Bridge in honor of this famous Cambridge resident.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on June 28, 2012.

Take a neglected 7,000-square-foot industrial building in North Portland, introduce nine creatives looking to elevate craft in the modern era, and what you might get is something like Beam & Anchor.

Last Winter, co-founding couple Robert and Jocelyn Rahm, partnering with Austin-transplant Currie Person (see our post Shopper's Diary: Spartan in Austin, Texas), resolved to do just that. Today Beam & Anchor is a group of nine (and growing), with members hailing from locations such as Missouri, Kansas, Wyoming, California, Texas, Arizona, and Michigan. What draws them to Portland? The constant hum of artists much like themselves, all drawn to the nostalgia of honest and traditional design.

The converted building features an upstairs shared studio space used for woodworking, apothecary chemistry, upholstering, designing, and painting. Directly below is a retail shop full of custom furniture, art, ceramics, jewelry, and home goods—a revolving inventory directly from the artists. Stay tuned for a look at the retail shop, read more about the Beam & Anchor crew, and visit them at 2710 N. Interstate Avenue in Portland, Oregon.

Photography by Michael A. Muller for Remodelista.

Above: Robert and Jocelyn Rahm's 100-year-old-farm table in the shop kitchen has "become a gathering place for collaboration, bread breaking, and story telling," as they say.

Above: Reclaimed materials and found objects are used as wall art in the shop kitchen/meeting area.

Above: A table made from sawhorses and an Aalto-inspired wood stool serve as an instant office space.

Above: A community chalk board for recording inspiration.

Above: Beam & Anchor creators Taylor Ahlmark and Nori Gilbert are apothecary crafters and soap makers, respectively.

Above: Lab glass, amber apothecary bottles, and bottles of essential oils for soap making and more.

Above: A room dedicated to woodworking, reclaiming, renovating, and designing.

Above: Scrap wood boards stacked according to size.

Above: Woodworking and designing on a handmade drafting table.

N.B.: Traveling to Portland? See more shops in our Portland, Oregon City Guide.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on September 5, 2012.

A Remodelista exclusive: Looking for adventure, some friends of ours recently sold their house in London, moved with three young daughters to Northern California, and stumbled upon Mr. Blanding's dream house. Or what was left of it.

The first time they saw the Mediterranean-style stucco house that a San Francisco attorney named Gordon Blanding hired architect Julia Morgan to design near the peak of Belvedere Island nearly a century ago, the grandest thing about it was the view. The house looked as if someone's grandmother had been living there for many decades. Our friends promptly embarked on an 18-month renovation that managed to preserve historic detail while creating a modern family home, where both the children and the couple's extensive art collection can co-exist peacefully.

Photography by Laure Joliet for Remodelista.

Above: In the second-floor hallway hangs abstract painter Sean Scully's Moorland, purchased after a trip to the artist's studio in Germany. Scully is very particular about choosing the homes to which his paintings go. "I took off my shoes going in to his studio," our friend said, "and he liked that."

Above: Built in 1913, the Blanding Casino ("little house" in Portuguese) was one of seven buildings on the estate. Designed to be guest quarters, the original main entrance was on the back of the house, on the second floor. A wide-angle view from the terrace also includes Angel Island and a slice of the Bay Bridge.

Above: Across the hallway is Andy Warhol's Jacqueline Kennedy III (Jackie III). In the office is another Scully work, Studyfor Clash. Glimpsed through the doorway: a chandelier from eBay ("It has 120 crystals, which I know because I had to stand on a ladder and hang them myself," our friend said) and chairs obtained after buying an office block in Dusseldorf; a previous tenant left the furniture.

Above: On the first floor, Irish conceptual artist Liam Gillick's work on aluminum titled Revised Inverted (L) hangs next to British artist Paule Vézelay's Three Circles in a Crescent. The grandfather clock is a family heirloom ("my great grandmother's," our friend said), and in the blue hallway hangs Forum by contemporary British painter Morag Ballard.

Above: The kitchen, moved during renovation to the front of the house. The Eero Saarinen chairs keep company with a custom-made table, a Murano chandelier purchased on 1stdibs, and a disco ball discovered at the Alameda flea market.

Above: Kitchen cabinets were painted with Benjamin's Moore's Gentle Gray (with the color lightened, by 50 percent, on the upper cabinets). Narrow oak planks throughout the house match the original flooring.

Above: A painting by Irish artist Guggi hangs in the stairwell.

Above: In the living room, the throw pillow was a gift when the couple left London. The Turkish rug was one of several they bought "from a family that drives up to the house in a truck, throws down 20 rugs, and negotiates over a cup of tea."

Above: On a living room wall is Daedelus Here to Stay, by British painter Alan Kingsbury.

Above: There were enough original knobs for all the doors on the second floor. For the rest of the house, the couple found a close match from Emtek.

Above: Old-fashioned pieces (a rattan bed) coexist with more modern pieces (a blocky wood bedside table).

Above: In the master bedroom, a pencil drawing (L) of our friend at age nine (or possibly, ten); on the nightstand, a Bestlite lamp.

Above: In the master bath is Allen Whiting's Barn in Moonlight and a custom mirrored console. The chandeliers date from the Blanding family's tenure.

Above: Combining two small bedrooms created the master bath; a children's desk holds bath time reading—and chocolates.

Above: A university chair anchors a corner of the bath; a painting by Francoise Gilot hangs above.

Above: The tile pattern is copied from Hearst Castle, another Julia Morgan creation, visited for inspiration. An old magnolia tree survived 18 months of construction. "We put quite a lot of effort into saving it," our friend said. It was worth it.

Above: The view from the upper terrace: the bay, Golden Gate Bridge, and in the distance, the San Francisco skyline.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on April 20, 2012.

Sania Pell, the UK queen of the homemade, invited us for tea recently. Here's the story:

Pell started posting on DIY matters about a year ago; ever since, we've been checking in on her creative genius. So when her book, The Homemade Home for Children, launched, we were curious to learn what she was up to.

Photography by Rahel Weiss.

Above: Fluorescent ribbons tied around linen napkins add a dash of color.

Above: Pell uses painted terra-cotta flower pots as containers; she repurposes glass milk bottles as vases.

Above: Vegetables as decor.

Above L: Pell uses bright pink Dymo Label Makers (the message? "Arti, Don't Choke"). Source the Dymo Label Maker ($9.90) from Amazon. Above R. Pell favors tableware in muted tones from Brickett Davda.

Above: Pell freezes flowers and slices of fruit into ice cubes.

Above: A vintage clock (painstakingly restored) keeps time in Pell's kitchen.

Above: The Homemade Home for Children is available in the US for $16.29 from Amazon.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on May 28, 2012.

Lately, I've been obsessing over Paris-based Mark Eden Schooley's Koushi lamp (and the €240 price tag). After gathering up a few lengths of cotton voile and making a quick dash to the hardware store, I set out to make my own version.

The imperfect shape and the intentionally frayed edges of the Koushi lamp make it a relatively simple and low-stress project, but give yourself an afternoon to get the construction of the wire frame down. For detailed instructions, see below.

Above two photos: The Koushi lamp is equally at home in modern or traditional settings; photos via Mark Eden Schooley.

Above: The above photo from Artilleriet in Sweden provided visual inspiration for my project. Schooley's petite lamp measures 18 by 24 inches, but I started with something smaller in mind. Below are my instructions for a 12-by-12-inch lamp; adjust the measurements accordingly for a larger lamp.

Materials:

• 25 feet of Annealed Steel Wire
• 1.25 yards of White Cotton Voile
• A white or black Ikea Hemma Cord Set
• Wire cutters and pliers
• White cotton thread and a sewing needle

Instructions:

• Cut three 36-inch long pieces of steel wire. Make three separate hoops by linking each piece of wire into an oval shape. Connect the two ends by folding the wire into small hooks; pull the wire taut with pliers.
• Next, measure and cut four 14-inch pieces of wire —these will serve to connect the three hoops. Starting with one 14-inch piece, wrap the wire around the lower hoop and work up through the other two. Repeat with the other three until you've created the frame—refer to the above photograph as you connect the pieces together.
• To secure the frame and keep the wires from sliding around, use a one-inch piece of wire to wrap around each joint. Next, cut 18 inches of wire and connect to the top oval to serve as the lamp's handle.
• Take 1.25 yards of cotton voile (a sheer cotton that will give the lamp an ethereal feel) and sew the fabric around the frame with cotton thread. Connect the fabric along the top oval first; work down to the other two in order to pull the fabric taut around the frame.
• Gather the remaining fabric and tie into a knot. Hang the Hemma cord according to Ikea's instructions and be sure to hang the light bulb directly in the center of the shade. Voila.

Above: What you'll need to make the Koushi Lamp.

Above: The finished product.

Above: An aerial view of the finished project.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on January 31, 2012.

Tucked away in tony Knightsbridge, a new shop introduces London to the exotica of the South Pacific.

Native New Zealander Laura Myers spent her childhood summers in Tahiti; her shop, Atea Oceanie, reflects her affinity for the South Pacific islands. Working with artisans from Polynesia, Micronesia, and Melanesia; Myers offers a collection of home goods and clothing that recalls the relaxed lifestyle and island beauty of her childhood memories. For more information, go to Atea Oceanie.

Photography by Christine Hanway.

Above: An antique Chinese hall stand is used to display handwoven bags and hats from the Cook Islands out of Rito, baby coconut shoots. The handwoven Pandanus baskets are also from the Cook islands. A collection of carved walking sticks come from New Zealand and the Trobriand Islands while the Maori gourd is from New Zealand. Tucked beneath the hat are canoe paddles from Solomon Island.

Above: Myers has created a relaxed ambience in Atea Oceanie with a bookshelf full of momentoes from her childhood summers in Tahiti.

Above: These handwoven hats are from one of the most remote Cook Islands. There are probably less than 1000 women who will weave this way out of baby coconut shoots.

Above: A collection of artifacts from the islands include basalt pounders from the Cook Islands which would would have been used in the preparation of food and mulberry bark for Tapa cloth. The hand carved Adze is also from the Cook Islands while the ceremonial baton with shell inlay is from the Solomon Islands. Antique decorative boxes from New Zealand feature hand painted scenes and are from the country's early pioneer period.

Above: White Pupu shell necklaces from the Cook Islands. The Atea pearl lariats have been made using pearls from the Cook Islands threaded on Italian suede.

Above: The Atea line includes satchels, which combine handwoven Fijian Pandanus with Italian canvas.

Above: A large Tapa cloth from Samoa has been framed for display. Tapa is a ceremonial cloth made from the bark of the Mulberry tree and decorated with patterns. The handwoven baskets and trays are from the highlands of the Papua New Guinea while linen napkins have embroidered traditional tatoo patterns.

Above: Almost every island in the Pacific has it's own Tapa tradition and each island has its own peculiar language of pattern work. These Tapa cloths are from Fiji, Tonga and Samoa.

Above: The rattan and metal chair was found in a London vintage store.

Above: The handwoven Pandanus fans are from Fiji.

Above: Yellow Pupu shell and red seed necklaces are both traditional forms of decorative material and are from the Cook Islands. The handwoven basket is from Tonga.

Above: A hand painted market basket from Tonga features a mother of pearl shell.

Above: Myers' photograph collection includes family photographs interspersed with black and white images of South Pacific islanders.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on May 29, 2012.

Whenever my architect husband and I embark on a remodeling project in our modern London terraced house, we morph into truffle pigs, sniffing out storage opportunities in the most unlikely places.

And when there’s no more to be found, we create new opportunities. A little ingenuity and a great deal of flexibility means that over the years, our family of four (plus dog) has been completely satisfied with 1,500 square feet of living space. A couple of years ago, we contemplated moving to a bigger house to accommodate our growing teens. This was met with great resistance: “Why would we want to move?” they asked. “This is home.” We must be doing something right.

For a tour of the garden, go to The Reluctant Gardener: Christine's London Oasis. Photography by Kristin Perers.

Above: We created a niche of bookshelves and benched seating (complete with underneath storage) on the back wall. Our two Eames Tables by Vitra (of different sizes) can be configured according to our needs; we use them for dining, homework, and even some sewing. One table can be brought outside easily for al fresco dining, and my beloved Ercol chairs are stackable if we need more space.

Above L: A corner of the table serves as a solo breakfast spot. Above R: The same table, set for a dinner party.

Above: Every inch of available space in the kitchen is lined with cabinets. N.B. The World's Best Countertop Appliance, the Zojirushi Induction Heat Rice Cooker, is the only appliance on my counter.

Above: A midcentury cabinet in the entry hall contains hats, gloves and scarves.

Above: When not in use, the Ercol Nesting Tables nestle under one other and fit neatly beneath the Ercol stationery table. The ottoman holds storage underneath.

Above: We bought a set of steel Metro Shelves (commercial kitchen shelves) when we were first married. They have been reconfigured at least eight times, including twice in this house—the best $1,000 we have ever spent.

Above L: Closets for hanging clothes have been inserted into the office; the wide doors function as bulletin boards for architectural drawings. Above R: Open shelves in the bath hold storage baskets.

Above: Even our bed is fitted into a niche. We store our luggage in the drawers underneath the bed; the headboard is comprised of cabinet doors, which conceal bookshelves. The architect in me loves the straight lines of stripes, hence the Light Grey Ticking duvet cover and Organic Aegean duvet cover by Toast.

Above L. Metro shelves from our original newlywed cull provide storage and serve as a room divider. Above R: We created a mini dresser from painted Ikea Moppe Mini Drawers with a shelf below for support and a shelf on top to hold loose items.

Above: Open storage using an Ikea system (discontinued) is very effective. We have one in each of the boys' rooms and in the living room as well. Plastic storage boxes fit neatly underneath and above.

Above: Two custom-built sheds in the garden provide storage and provide a backdrop for the outdoor room. (For more, see Design Sleuth: Christine's Outdoor Rug.)

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on July 11, 2012.

Can a kitchen island ever be too long? This year we extended our ten-foot-long kitchen island to 14 feet, and it was the best remodeling decision we ever made.

Every summer we decamp from London to Connecticut, where we catch up with friends and family while doing a fair amount of entertaining. Our kitchen island is for everything from meal preparation and consumption to digital surfing, from writing the occasional post to family summit meetings. Last year we decided ten feet just wasn’t long enough, but we were apprehensive about taking up too much of the kitchen with an island. And then my husband suggested we put the extension on wheels, which offers us valuable flexibility on a daily basis. Genius, yes?

Photography by Christine Hanway for Remodelista.

Above: The island was designed with electrical outlets to recharge laptops and iPads.

Above: The extra length allows meals to occur at one end concurrently with meal preparation at the other end. The island seats eight comfortably and can seat as many as 20.

Above: Pulling the extension away from the main island breaks up the scale in the kitchen (and provides a separate surface for dining or cocktail mixing).

Above: A detail of the industrial castor wheels.

Above: The wheels allow the island extension to be moved easily and have brakes to keep the island in place.

(N.B.: Stainless steel is my favorite material for countertops. See 720 images of Stainless Steel Islands in our Gallery of rooms and spaces.)

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on August 17, 2012.

The Dutch have the urban cycling life down: no sartorial compromises necessary. Women peddle to work in heels, clogs, skirts, and dresses, and men are perfectly happy to sail along the street in dapper suits.

I know this because my brother lives in Amsterdam, and whenever I visit the city, getting around by bike is a highlight. My two children (10 and 14) pile on the back of their cousins' bikes, and the rest of us grab a spare (there's always a few around); no gear, no helmets, just a basket or two for our bags. So when I started commuting into San Francisco not long ago, I opted to ride the ferry over from the East Bay and then hop on my bike at the other end. Not only is the bike commute easy and efficient, the morning ride along the water has become the favorite way to start my day (rainy days not included).

Photography by Mimi Giboin for Remodelista.

Above: Exiting the ferry on my Tokyo Citizen Bike; the 16-inch, six-speed folding bike with ultra-light frame is $169 from Citizen. My preferred everyday footwear: Leather Buckle Boots from No. 6 ($370 at No. 6).

Above: The basket hooks over the handlebars of my bike and is easily detached (I use it as a shopping basket at my local grocery store). The oversized canvas bag is made by my friend Matt from Small Trade Company, and I always bring a small Klean Kanteen Insulated Flask ($22.95) for my daily Blue Bottle brew. Wald offers several bike baskets including the Wald Quick Release Basket; $44.99 from Amazon.

Above: I am a big believer in bags within bags (it's a mobile filing system of sorts), and these leather wallets from RTH in Los Angeles are favorites. I first spotted the wallets at March in San Francisco, but they can also be purchased online at RTH Shop. The Muji Gel Pen in black writes beautifully and never seems to leak ($1.25 from Muji). The Letts of London Diary ($13.20 from Amazon) is a 20-plus-year legacy system that I can't seem to retire.

Above: My mobile office for working on the ferry consists of phone, computer, and notebook. The Fog Linen Pouch ($22 from Pierre Lafond) contains my makeup. A Japanese furoshiki does double duty as napkin and emergency bag, whenever needed.

Above: The bike folds easily with a single maneuver and fits easily into the back of my car.

Above: The highlight of my day: a ride along the Embarcadero by the water, with the Bay Bridge as backdrop.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on April 5, 2012.

I suppose you could describe us as optimists—or me, at least—because when my husband and I were crab-walking around in six inches of water in the low-ceilinged cellar of the "vintage" house we'd bought the previous week, I said, "I can't wait to remodel."

What he said was less obviously cheerful ("This reminds me of that scene in The Deer Hunter where the Viet Cong keep the prisoners in a dark pen underwater, then fish them up one at a time to play Russian roulette"), but then we found the switch to a pump thing that sucked out most of the water and he perked up a little.

It all seems like a long time ago now (thank God, by the way), but less than three years have passed since we bought the 1,500-square-foot, one-story stucco cottage in downtown Mill Valley, California. Between then and now, we sold our old house (which was two blocks away), moved to New York City (and rented out the cottage while we were gone), hired an architect, discovered dry rot, tried to renovate while living 2,500 miles away, hired a designer, discovered more dry rot, and finally moved back in a couple of months ago.

People ask if we would do it again. My husband says yes, if the other option is playing Russian roulette with hostile captors. I say: For this kitchen? Absolutely.

Photographs by Mimi Giboin for Remodelista.

Above: The original kitchen was, well, original. You walked in there and you thought, yep, here's a house that was built in 1926. The archway was where the house ended; the sitting area beyond is an addition. We knocked down walls that subdivided the old kitchen into a pantry, a stairwell, a dining alcove, and a work area.

Over the years, I have collected vague ideas, from all the places where I've lived, about what sort of kitchen I would consider ideal—white marble countertops, a window over the sink, a big table to sit around—but it took the combined efforts of both an architect, Mark Fischbach, and a designer, my friend Stephanie Dorfman, to translate those inchoate wishes into a real room.

The Malayer rug (similar to these) is one I have had for years; Stephanie had the idea to use it to anchor the Flatiron Dining Table ($795 to $1,095, depending on length, from Restoration Hardware). Bonus points: The reclaimed elm tabletop comes pre-distressed with so many nicks, scraps, and imperfections that there is nothing your children can do to hurt it.

In the sitting area, our 15-year-old sectional got slip-covered and made cozier with a Moroccan Pom Pom Blanket draped over it.

The house has 10.5-foot ceilings. To make the kitchen feel loftier, Stephanie suggested eliminating the upper cabinets on one wall, which we tiled floor-to-ceiling with Ann Sacks Ceramic Basics subway tile. For more information and pricing, see Ann Sacks.

I started stockpiling nice things—like the table and the sink and the pendant lights—long before construction started because I suspected (correctly, it turned out) that after the project got underway costs would spiral (see: dry rot) and I would no longer be able to buy any of the lovely but non-essential items that give the kitchen character. I found the Thomas O'Brien Garey Small Pendant Lights, for example, at an end-of-season lighting sale nearly a year before they finally were hung from the ceiling; they're also available, for $525 apiece, from Circa Lighting.

What to do with a skinny cabinet next to the dishwasher? It's a pullout drawer to hold cutting boards.

(N.B.: For my garden, see "DIY: Envy-Inducing Planters (Spray Paint is Involved)."

The Bistro Knobs are $13 apiece from Restoration Hardware.

The Shaw's Original Fire Clay Apron Front Sink is a Remodelista favorite; for more information see 10 Easy Pieces: White Farmhouse Sinks. The Rohl Bridge Kitchen Faucet is from the Perrin & Rowe series; it's $1,375.50 to $1,719 depending on finish from Faucet Direct.

By the time we finally got to the stage of the project where the nice finishes were being installed, we no longer really cared, of course; we were too beaten down by threatened delays, threatened cost overruns and a generally threatening, gloomy feeling. I think this is called "a normal renovation."

I wonder if things would have felt less out-of-control if I knew more about the mechanics: How exactly do you build a house? What holds up the walls? How many of those wall-support-things do you need per room? Etc. Years ago, I read House by Tracy Kidder ($10.85 from Amazon) and remember being impressed because the homeowner strapped on a tool belt and worked alongside the construction crew to build her own bathroom vanity. If I ever renovate another house, I will try this.

I am on the other hand a firm believer in disruptive change as a positive force -- otherwise why would I have moved back and forth across the country and bought and sold houses and switched jobs (twice) in less than three years? I think you reach an age where you can easily start to get complacent—not you specifically, of course, but people in general—and when that happens there's a danger you'll stop questioning the way you see the world or quit trying new things or say you don't care if you ever see Istanbul. When you tear up your life, it forces you to embrace the idea of that you can become someone better than who you used to be.

Above: Julie gave me the idea to use a vase to hold long-handled brushes; a similar Astier de Villatte Sobre Small Vase is $140 at Sue Fisher King.

Have you ever noticed that when people renovate their kitchens they get obsessed by the countertops? What material should we use? What will be most impervious to stains, burns, and other kitchen maladies? What will "last" the "longest?" I think these questions are sort of irrelevant. The answer is nothing will last the longest. Every material in a kitchen eventually will stain, chip, fray, discolor, fade, and look like .... it's in a kitchen. This is a good thing, actually, because it's an indication that people are baking and slicing and rolling out pie crusts and drinking red wine.

For me, it was never a question: white carrara marble. All day long.

Above: The biggest surprise was how well the new, bigger kitchen complements the old, smaller rooms of the original house. You can see, through the doorway, a glimpse of the dining room and, beyond that, the living room. Matching the trim detail and existing oak floors unified the space.

Above: A wall of cabinets and drawers holds our dishes, small appliances, cookbooks, and large stockpots. The seedy glass (for a selection of Clear Seedy Glass, see Lincoln Glass) works kind of like Vaseline on a camera lens; it smooths away the rough edges and takes ten years off the blender's age.

The microwave oven lives in the pantry. A top priority when designing the kitchen was to hide the microwave; I would hate for it to take up counter space. We also keep my husband's precious collection of Ro-Tel tomatoes in here. "I love this house and I always have," he says.

What does my garden look like? For a glimpse, see DIY: Envy-Inducing Planters (Spray Paint is Involved).

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on November 27, 2012.

Sometimes it’s a small detail that gives you a glimpse into a person’s life; in the case of Lauren McIntosh, it was a loaf of brown bread displayed like a still life under an elegant glass cloche on her kitchen counter. Simple, thoughtful, and aesthetically compelling, it is symbolic of McIntosh's whole approach to living: creating beauty.

"I have these rules that everything has to be beautiful and to look good," she says. "You don't have to have plastic in your life." The third-generation Californian and longtime artist (see her work at Repetti in New York and Obsolete in LA) is also the co-owner of Berkeley’s legendary Tail of the Yak, where she and her partner, Alice Erb, sell carefully sourced traditional arts and crafts from around the globe. Read on to discover more about McIntosh's approach to the artful life.

Photography by Aya Brackett for Remodelista.

Above: McIntosh works in a loft-like studio in her Berkeley Hills home. She typically uses gouache on paper.

Above: McIntosh at her easel in her studio; French doors open to a lush English country style garden, where a tortoise roams. McIntosh picked up her eyeglasses on a recent trip to Venice: "They are made of horn and titanium and are really strong," she says.

Above: McIntosh wears rings made from amethyst with pearls and flat cut garnets on her left hand. She sources English and European antique jewelry for Tail of the Yak. "I prefer the Georgian era over Victorian, it's rustic and less fussy," she says.

Above: McIntosh wears a black John Paul Gaultier dress from the designer's archives (she traded it for a painting) paired with a black apron that was a gift from a friend. She's a fan of Dosa, which she picks up from Atomic Gardens in Oakland, and she also likes to wear some of the Ukranian and Mexican pieces on sale at her store. Her footwear of choice? Vegan Dr. Martens (she's vegetarian). In this photo, she holds a paper lantern, one of many she created for a recent fundraiser at Creative Growth, the Oakland-based organization that serves artists with developmental, physical, and mental disabilities; McIntosh and her husband are longtime supporters. Hanging above the dining table is a paper chandelier, another of her creations.

Above: The artist's studio, with a floral piece created by Louesa Roebuck for a recent Remodelista installation.

Above: McIntosh plaits her hair for the curl effect; her earrings were made in Chile from horse hair and are sold at Tail of the Yak for $85. Her lip color of choice? Yves Saint Laurent's 04 Rouge Vermillon; $32.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on April 27, 2012.

I love the idea of making gifts for the holidays, but I usually end up taking on more than I can handle: "I'll just weave a quick rug for my sister, pickle cauliflower for my stepdad, and knit socks for my aunt." The result? Everyone gets a nice journal from the bookstore. This year is different, because I'm making easy wooden bead trivet sets for everyone on my list.

This easy and cost-efficient project will set you back about $7 per two-tiered trivet and takes minutes once you have the materials assembled. Want to give it a try? See my DIY video below for step-by-step instructions (you'll need to source the materials outlined below).

Above: Wooden beads and a coil of thin leather cord.

Above: After stringing the beads, cut each end at a desired length to knot together.

Above: The smaller trivet nests inside of the larger one to make an even sturdier resting spot for heavy cast iron pots.

Here's What You'll Need:

• For the larger trivet, source 25 1/2-Inch Wooden Beads (about 3 cents each from Craft Parts) and 20 inches of Greek Leather Cord ($9.58 for a pack of 192 feet at Amazon).
• For the smaller trivet, you'll only need 18 1/2-Inch Wooden Beads and 13 inches of Greek Leather Cord.

N.B.: Looking for a garland to go with that wreath? Find it along with 18 other DIY Videos.

N.B.: As part of our Remodelista Exclusives week, this post is an update and the original story ran on December 17, 2012.

The Williamsburg boutique Joinery started with a woman and a blowtorch: The blowtorch was used to char the ceiling to the perfect shade of aged brown.

Joinery is owned by Angela Silva and though not a business partner, her boyfriend Emil Corsilo is also the owner of men's store Hickoree’s Hard Goods. Silva designed the store on a budget by opening up the interior, painting the dark walls white, and installing oiled-pine floors. She also burned the ceiling beams with the shou-sugi-ban technique (where wood is burned, brushed, washed, and oiled). Joinery sells women’s and men’s clothing, utilitarian home goods, and vintage accessories, along with an exclusive collection of Brazilian blankets and rugs sourced by Silva (who is half-Brazilian). The Joinery website is still in the works; for the moment, contact Joinery for information on purchasing products.

Photography by Michael A. Muller (except where noted).

Above: Joinery is located at 263 South 1st Street in Brooklyn.

Above: Silva travels to a remote Brazilian town, Resende Costa, to source hand-woven blankets and rugs. "Everyone there is either a weaver themselves or a shop owner selling textiles," says Silva. New at Joinery are vegetable-dyed straw mats also from Resende Costa; read more about them on the Joinery blog.

Above: A floral top by H. Fredriksson ($250) and light leather tote by Ffixxed ($144).

Above: Silva has always collected antique furniture and vintage finds, like these steel clothing hangers.

Above: A red clutch from UK designer Mimi Berry ($190) and indigo lingerie from Toronto-based company Fortnight. The top of the antique credenza was charred by Silva to deal with water-damaged wood.

Above: Necklaces by of-the-moment New York artist Erin Considine (shown on the left); $75 to $115. Metal cuff bracelets by Kora ($210 each) are arranged on a bed of dried moss.

Above: Made in Texas by Barrett Alley, the leather envelope wallet is $95.

Above: The wooden floors are pine, finished with Osmo Top Oil.

Above: The lighting is from New York designer Lindsey Adelman's You Make It series.

Above: Tumbleweeds peek out from underneath display tables and in the corners of the store; they were sourced from Prairie Tumbleweed Farm in Kansas.

N.B.: As part of our Remodelista Exclusives week, this post is a rerun and originally ran on March 30, 2012.

Some people go on diets; I declutter. Every New Year, I go on a mad rampage to rid my home of what I refer to as the detritus of life and fantasize about living clutter free.

I typically get about two days in before back-to-work and back-to-school obligations take over, and I am thwarted from starting the New Year with a completely clean slate. This year, inspired by House Älta, designed by Swedish architect Johannes Norlander, I am determined to see it through.

Photography by Rasmus Norlander via Architizer.

Above: The shape of the house was determined by the topography of the site. To reduce building costs, the owners decided to build only on the flat parts of the site, minimizing foundation costs.

Above: The 20-foot-high house is built on a hilly site on the main street of Älta, a small town on the outskirts of Stockholm. At its widest point, the house is 15 feet.

Above: White plastered walls and a concrete floor take the finishes back to basics.

Above: Maintaining a clutter-free existence requires self-discipline and an impeccable storage system.

Above: A simple wood burning stove adds warmth to the otherwise austere interiors.

Above: The 1,700-square-foot house has a living space and kitchen on the first floor. The second floor houses three bedrooms, a small library, and a bathroom.

Above: Even the elevation is clutter free.

N.B.: Do you want to live clutter free in 2013? See Johannes Norlander in Sweden for another inspirational project.