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THE WAITING GAME continues. I’ve officially “gone to contract” on the Long Island beach house deal I’ve been patiently coddling for almost two years now. The seller has signed the contract of sale, my down payment has been delivered, the survey is completed; so is the title search. What remains before we can set a closing date: an amended Certificate of Occupancy for a 14′x18′ outbuilding — a future pool house, studio, guest cottage, workshop — with a good wood floor, skylights, a plumbed sink, and electricity. I want that building to be legal, and it’s the seller’s responsibility to make it so — a matter of closing out some paperwork, as the structure itself was built to code, with proper permits. So I wait to be informed when that is done, and have no idea how long that may take. Meanwhile, I linger in limbo while the weather here in downstate New York turns cold. The house is neither heated nor insulated, and there won’t be much I can do there through the winter months.
What I can do now is dream. I have been poring over back issues of Elle Decor, House Beautiful, and Country Home, seeking inspiration but not really finding it. That’s because the house — a long, narrow cracker-box built in the 1940s, then appended in the 1960s with a shorter wing set perpendicular to the first — has a modernist air in its simplicity, but a set of French doors added later confuses the issue. It’s not a cottage. It’s not a cabin. It’s not a ranch. It’s neither traditional nor modern. It doesn’t appear to have been designed by an architect; it just kind of happened. Soon it’s going to happen to me, and I finally feel confident enough of that to publish a few photos of the interior taken during a recent inspection with a trusted contractor. It’s still chock full of the seller’s belongings, but you’ll get the idea.
Let me clear up one misconception friends seem to have about me and this house: yes, it needs a load of work, but no, I’m not planning to “renovate.” Not right away, anyhow. I’m planning to live in it — camp in it, even — in a state of Bohemian funkiness for at least the first year [I just checked the definition of 'funky' to make sure it means what I want it to mean: modern and stylish in an unconventional or striking way, according to Merriam Webster. Exactly!] Primarily because I won’t have the money to do much else, but also because I just want to relax into being there before making any big plans. I’m looking forward to cleaning and painting immediately, and replacing appliances if need be, but things like a heating system and all new windows (the house will eventually need more than 20 of them) and a new deck and outdoor shower will have to wait. As for a new pool (the original vinyl one is merely a hole in the ground), that will have to wait a long time — five years, perhaps. Meanwhile, Gardiner’s Bay is a few hundred yards down the road.
Assuming the water runs and the lights go on, which they should, the first call I’m going to make is to an arborist. The half-acre has an excessive number of tall oak trees, and I want to open up the property and let in light — maybe even enough for a vegetable garden. Hopefully, much of that clearing can be accomplished this winter while the trees are bare.
In my low-budget decorating dreams I’m seeing a whitewash, sisal carpets, and a few pieces of mid-century furniture. What are you seeing? Dwell-magazine minimalism, or kilims and color? Thanks for your thoughts, however stray or unformed; they’ll go right into my mental files.
Above: The 14′x30′ living room in the short section of the L-shaped house has a working fireplace.
The larger of two bedrooms, above
One of two bathrooms, both needing work
The kitchen is open to…
A second living room, essentially — or dining/family room, with another working fireplace at the end of the long leg of the L (covered at present with plywood)
The outbuilding that’s causing the current delay
SOMETIMES I THINK I have a case of arrested decorating development. At my age — a couple of generations past 30, which is the age of Grace Bonney, hugely successful design blogger and now author of a hefty new decorating and DIY book, Design*Sponge at Home (Artisan Books, $35) — shouldn’t I be more of a House Beautiful type? Shouldn’t I be gravitating toward wing chairs and Chinese ginger jar lamps and floor-to-ceiling drapes with valences?
Instead, I’m drawn to the very sorts of freewheeling, colorful, creative places featured in the first half of Bonney’s comprehensive, textbook-weighty book, many inhabited by designers, artists, and stylists.
These are places I can see myself actually living in, with cheerfully mismatched furniture and imperfect walls, full of thrift-shop discoveries and pieces that just happened to come to hand, almost always with (low) budget in mind.
The common thread here is that these homes don’t take themselves too seriously. Always a sucker for interior design and decorating books, I sucked up this one, which is particularly idea-full for renters and cottage dwellers such as myself — people who live comfortably with a sense of impermanence, who are willing to get down on their hands and knees rip up old linoleum, and who use the oldest, cheapest decorating trick in the book — paint — to transform space with diamond-pattern wood floors, mustard yellow kitchen counters, walls of ash gray or black, or maybe Outrageous Orange.
At first I thought I would have no use for the second half of the book, a compendium of crafty DIY projects, some from readers, some from D*S editors — not having the skills required to sew my own slipcovers or the patience for creating starburst patterns on a dresser with small wooden dowels. But I was impressed with the overhaul of those easy-to-find Salvation Army staples — the boring brown wood dresser or armoire — into bright and appealing new pieces, merely by painting them with vivid flower or wave patterns. Now I’m itching to go out and find some on which to try my hand.
Design*Sponge at Home was published in early September. This review is a bit late because I lent the book out immediately upon receiving it to the 26-year-old daughter of a friend who’d just moved into a bare Brooklyn apartment. She called it “inspiring,” and that’s exactly what it is: 400 pages of get-out-and-do-it design inspiration.
MY NEW EVERY-THURSDAY SERIES for Brownstoner.com continues today in a new, easier-to-read format, with a garden floor-through in the heart of Cobble Hill by interior designer Julia Mack.
These are rented digs, colorful and cost-conscious, with lots of Brooklyn-based sources and interesting ideas.
Hie on over here to see many more photos and read all about it.
ONE OF THE GREAT THINGS ABOUT BLOGGING is making new friends. Lula and I met only a few months ago, when she stumbled upon my blog and contacted me. We soon discovered we are neighbors in two places. She has an adorable cottage a few blocks from mine in Springs (East Hampton), N.Y., as well as a parlor floor she’s owned for 16 years in a classic 1850s Italianate brownstone in Brooklyn, top and below, virtually around the corner from where I lived for two decades (though we had never run into each other).
She lives in a state of Bohemian splendor, presently suspended in mid-renovation. Having peeled off old wallpaper, the walls have a Venetian plaster look but await further plaster and paint. The ceiling has been stabilized in parts where it was falling down. There are nearly intact plaster cornice moldings all the way around, with what Lula calls her ‘Shakespearen troupe’ of faces. A new kitchen is in the cards, and there’s a potential terrace at the back which is just tar paper, no railings, at the moment.
Most of the elaborate plaster cornice is in great shape, above. Other parts, below, not so much.
Lula is grappling with the questions endemic to living on the parlor floor of a brownstone.
- Where to put the kitchen so it’s functional but unobtrusive? Right now it’s in the middle and will probably remain there for plumbing reasons, but in what configuration?
- How to create a bedroom with privacy? She’s got a small one in the former hall space at the back, and uses the back parlor as a sort of den/guest room, above — but could it be better used as a master bedroom or dining room (currently in the kitchen area)?
- And what about those magnificent original wood doors and moldings? Were they painted back in the day (she thinks so) and should they be painted again, or refinished and stained? Should perhaps the doors be left wood and just the moldings painted?
All that remains to be seen. Meanwhile, the place has great cozy charm. With all that original detail, antiques acquired piecemeal over the years, an overstuffed sofa, plants on the window sills, and faded Oriental rugs, it feels much like being back in the Victorian era, for real.
After my first-ever visit to Lula’s apartment, we went and checked out the new Fork & Pencil warehouse on Bergen Street, above, a few-months-old, crammed-full, well-vetted consignment store — a spin-off of the smaller storefront on Court Street — whose proceeds go to non-profit conservation, arts, and other organizations. It’s more Lula’s kind of place than mine, filled with traditional antiques, but more to the point, I don’t need anything at the moment. Browsing there is purely a theoretical exercise for me. I admire, appreciate, and move on. Don’t need anything, thanks!
We had a civilized late lunch nearby at Broken English, the sort of self-conscious industrial chic space one used to expect only in Manhattan. I’m glad it’s come to Brooklyn, because my rigatoni with marinara and basil was scrumptious, and the salad, bread, and olive oil were tops. You can tell the quality of a restaurant by its bread and salad, I once read, and I think that’s on the mark. Broken English is open for breakfast, lunch, and dinner. Ignore the snarky online reviews from amateur critics and give it a try. It’s a welcome addition to the nabe, in my book.
ONE E-MAIL LIST I’LL NEVER UNSUBSCRIBE FROM is Emery & Cie, a European textile and wallpaper company whose elegant designs and sophisticated color palettes always send me into a reverie of an alternate life in which I a) could afford these stunning, hand-crafted materials, and b) have a place to put them.
The stuff is too formal for a beach cottage — mine, at least — but I do see it, gorgeously, in a brownstone parlor, dining room, or bedroom.
The founder of the company is Belgian-born Agnes Emery. They have showrooms in Brussels, Antwerp, Paris, and London — all of which I feel very far away from as it sit here gazing at two deer munching away in my Long Island backyard. But finding the Emery & Cie summer 2010 collection in my e-mail inbox magically transports me to Europe for just a little while.
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