Taking hints from the original details of the house, McDonald’sWho was also a covid-era intestinal renewal for the construction designer, says he “just extended what to do.” Behind the house, he pronounced a vailed roof with the native of the upper midwest, a cocooning scandi effect for the Swedish heritage of the house owners. Where once small windows offered little sunshine, the glass from the floor to the roof now now surrounds the painted-brick chimney (lovely called “the snugs”), while skylights and glass courtyard doors help to illuminate the kitchen and dining room. Such a bright “glitter”, as the designer calls it, highlights the compression and release technology developed by late architects. Frank Lloyd WrightThe enforcement of the Rambler, moving through the living room and home office, increases the feeling of shadow-sharedness under the low eight-foot roof that takes on reaching a single growing places.
McDonald’s also hugged the medieval roots of the house with a palette of subtimal gem tone, “away from glamor and hippie in spirit” – a node, perhaps, in the summer of love in the summer of 1967, in the summer of love, the most colored hallmark of the era. Kitchen cabinets are painted in an extinct-sunset hue; In the living room, the 1950s armchairs are covered in Aquarian Blue Leather; And the humid primary bath is colorful with succulent marlotes and amazing mouve tiles. Says McDonald’s, “I am especially about the recurrence of color, because there is a danger of making boredom or feeling a little ‘Disneyland’,” McDonald’s, who used a variety of purple colors from room to room. “So it is important that they are mixed – a little cooler here, there is a little warm.”
