Dwell Development | Romantic Renovation

Dwell Development | Romantic Renovation

In this episode of Inspired Design, we head to Lake Washington overlooking Andrews Bay where we meet Dwell Development founders, Anthony and Abbey Maschmedt for an exclusive sneak peak of their passion project. This Lake Washington home is over 100 years old and the Maschmedts are determined to turn it net zero while preserving as much of the original integrity as possible. Learn what it takes to make an old house new again.

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Behind the scenes

EPISODE’S LOCATION

Lake Washington overlooking Andrews Bay

Dwell Development

VALUES

Dwell Development is constantly working towards the advancement and growth of sustainable design practices. Dwell strives towards creating the most energy-efficient homes in the world.

BUILDING GREEN

Dwell’s Green Initiative

 

Speaker 1: The greenest homes that exist are the ones that are already here. Right. You know, we build energy efficient homes, cuz we are really good at it, but the greenest ones are already here. So let’s not tear down anymore houses. <laugh> right. Let’s keep ’em and preserve ’em and make ’em special. Again,  

Speaker 2: I’m Gina Colucci with the Seattle design center every week on inspired design, we sit down with an iconic creator in a space that inspires them.  

Speaker 1: You guys doing good? Anthony Gina, Hey Gina. We met,  

Speaker 2: We met this week on inspired design. We meet with Anthony and Abby mashed at their home on Seattle’s lake Washington. The home was built in 1919, and they’re putting the final touches on its restoration in order to make it net zero energy. The home is still under construction, but their goal is to move in in the coming weeks.  

Speaker 1: The second one step forward, two steps back, we clean it up and then we make it dirty again. And then we dig a hole and we fill a hole. It’s like hole, it’s endless. It’s endless for sure. That’s construction.  

Speaker 2: Anthony is CEO of dwell development. He and his wife make a great team. Anthony is passionate about net zero builds while Abby specializes in design on this project specifically, she’s focusing on preserving and restoring the most unique aspects of this 1919 home. Yeah.  

Speaker 1: So Abby did, Abby’s done all the design and for the house and the finishes and she’s also the historian of, of yeah. The house and, and trying to get all the details to be period appropriate. You know, uh, obviously it’s a huge project and we tried to make an old house new again. Right. It was a big task to make a hundred year old home with zero insulation and you know, not very energy  

Speaker 3: Efficient. We usually recommend facelifts to happen when you’re a little younger. So <laugh> yeah, we waited a little long. So it was a little nipping and tucking late.  

Speaker 1: <laugh> a lot of nip and tucking. So, and it’s a very unique, uh, uh, architectural style as  

Speaker 3: Well, especially for the Northwest. We don’t see a lot of stuccos around here. That’s why I, I spent time trying to figure out why, why do a stucco in Washington in, in 1919? Uh, I think just the, there were a lot of people moving up here and so the transplants came like they do and they bring with them their architectural flares of Mediterranean and stucco and  

Speaker 2: I’m from Southern California. So I know it all  

Speaker 3: Too well. Yeah. This is an eclectic Mediterranean, because it’s not a tutor like most people think, but it does have some of the tutor features in the inside. You’ll see that they, we, we tried to pop out some of the spaces, so they were less constrained. Like tutors can be mm-hmm <affirmative> they can be like dollhouses with little bitty gingerbreads and crannies. Yeah. Yeah. So we tried to make it a little more, um, modernized and comfortable.  

Speaker 2: It’s clear. This project is a labor of love. As I stood outside, admiring the stucco exterior, Anthony told us how he and Abby became aware of the home. It felt like it was almost meant to be,  

Speaker 1: We’ve known this about this property for about four years because we jogged by it every single morning on our morning run from our house in Columbia city, down to Stewart park and back. And so we’ve always been a big fan of it because it’s such a beautiful, interesting home and it was stately like, and,  

Speaker 3: And it’s one of the oldest on the Boulevard. So we had our eye on it a long time. It stands out for sure. It’s not amongst a bunch of other Mediterranean style homes. So it’s kind of iconic. And most people in the neighborhood know it, if we say, oh yeah, it’s that Mediterranean job with the castle down there. And they’re like, oh yeah, I know the shit toe.  

Speaker 1: Yeah. And, and well being a developer and trying to acquire land opportunities to develop and to, and to preserve homes too. So we had an opportunity to buy this and about four years ago and it fell through the owners, weren’t quite ready for it. And then they reached out to me again, uh, two years ago, two and a half years ago and they say, Hey, and we started negotiating with them and we made ’em an offer, uh, before they put it on the market. And they said, no, it’s too low. So we said, okay, well let us know if things change. And then they put on the market for a lot more than we offered and it sat and it sat and they lowered the price. They lowered the price. Well,  

Speaker 3: Of course the convergence zone of COVID they put on the market right before COVID hit. So it wasn’t so lucky  

Speaker 2: You guys, October.  

Speaker 1: Yeah. We October, October right before COVID and then they dropped and then they pulled it off the market. And so I called them, I said, Hey, um, would you be willing to reengage? And I would love to do a survey of the property, cuz we always thought there was two additional lots plus this house. And so we confirmed that there was, which means there’s value there to, for, from a development standpoint. And I liked the house, but it was very limited as far as, you know, um, a floor plan that, that we could see ourself living in. And so Abby came down, we looked at it and we go, well, let, let’s do this. Let’s just put one house in the back and let’s, let’s save this house. Let’s replenish shit. Let’s make it bigger and make it our own. And with the possibility when it’s done, if we really like it, we’ll move into it.  

Speaker 1: And we decided to make it a, a passion project for us. And in that our mission at dwell is to, you know, to always lead, always challenge, always strive to do more. And, and with this particular house we said, can we make it net zero? Cause that’s what we do. Right? We make all our homes, net zero energy and as energy ready, super, can we make an old house new again and make it energy efficient and make it smart and add technology and add all those things that we’ve developed over the years into an old house. We wanna show people these don’t need to go to the, to the landfills. You can actually preserve these old houses and make ’em new again. So we set out on this journey. Yeah. So we started what two years we, we bought it two years ago. It took a year to get planned and permitted. So we broke ground last August,  

Speaker 3: Winding the corner to a year.  

Speaker 2: Wow. Yeah. Before we head in, I noticed this large branch up and over the main entrance way.  

Speaker 1: Yeah. I’ll let Abby take this one. So  

Speaker 3: This is a, so what we’re told is it’s a Virginia creeper and the old photographs that I found of the home back. So they, around the thirties, post depression, they sent people out at for jobs to photograph old homes in Seattle. And so the old photographs that I found in the archives, this is here and it’s so amazing. And at one point, the people from whom we bought the house, cut it back because they painted and they did a restoration paint job, but we, we painstakingly have, have kept it. So it will grow back. Wow. And it should, it should travel all over the front of the stucco and it, it’s pretty, it’s an beautiful red leave, you know, it’s an Ivy and it it’s, it’s, it’s meant to be there. And thus, we, we took great pains to keep it there.  

Speaker 2: So just to give you an idea of what we’re looking at, it’s a really old Ivy branch that’s growing up and over the main entrance and it sticks out against the white stucco. If you wanna see exactly what we’re talking about, head to the Seattle design center website on the inspired design podcast page, and you’ll get behind the scenes images and be able to see all the little details that we cover. Yes.  

Speaker 3: Oh, the roots flow all throughout this whole veranda out here, they’re out here. So we were really careful not to dig too deep when we pulled this, this had a layer of concrete underneath and we pulled that up and we put these pavers on just because they’re, they’re porcelain. They’re a little more than it was  

Speaker 1: Actually brick like there. Okay.  

Speaker 3: And we’re talking perimeter  

Speaker 1: About brick, the whole brick, and then they pour a slab concrete on top of it. And so we dealt take the other. And so it was like, and then, then we got to these root balls. The roots were, this thing were in all of the drainage. So we had to everywhere, gently nip and tuck and get it also and preserve this thing. And so now it’s starting to come back, as you can see, and starting to kind of live again,  

Speaker 3: We’ve been talking to it, you know, come on baby. You can do it. You can do it. We disrupted you. We did a little surgery. What a labor of love. Yeah, it really was. I mean, I was a little heartsick cuz I was worried about it when we had to cut it back to get the pain on. I was like, there’s a chance. And then we had somebody come by, who is a landscape architect. She took she’s really, really knows about plants. And she said, I think it’ll survive. They’re pretty hearty. Yeah. So it’s coming back. What a great staple.  

Speaker 1: But even these little, um, details like these, uh, metal brackets on the, on the down spouse, I mean we mm-hmm <affirmative>, those were all beat it up tin that we actually pulled off painted, scraped them and put ’em back in those cupper boxes as well. So that’s just a architectural detail that we kept, but really the gutters are new and the downspouts new and it goes into the drained system and out like it’s supposed to, but we wanted to keep the, you know, the integrity of what it looked like before. So those are just cosmetic, but I think they really make a difference.  

Speaker 3: Well, originally it had wood gutters and you can imagine that wood is not an appropriate material for gutters. Yeah. Because that’s water wood, not such good. And we did pull those off thinking. We would put those back, but they were so beat up by the time and they were rotten and we even saved them for about six months because we it’s really hard to part with all the old stuff we had, ’em all stacked up. And we were like, oh, we’re gonna Bondo these. And then we’re gonna do this. And, and our superintendent was like, are you guys crazy? Yeah. There’s some stuff that just doesn’t need to go back. Wood gutters yeah. Are not appropriate.  

Speaker 1: And I think the stucco is another big element while we’re out here, we can touch on this. So obviously it’s rare to see stucco back from that timeframe in, in the state of Washington. But when we had to remove the back of the house to do the addition, mm-hmm <affirmative> we had to get into it and pull it off. And this is actually is two inch thick Portland cement with a two inch rain gap behind it. So it’s called the rain screen. So there’s free flowing air and water allowed drain behind that wall if, if ever gets behind it. So what it did is it almost made this, this house, like with this iron clad, like shell on the outside of it, because it was zero insulation in these walls zero, it was originally built like that. This was originally built like this. And so we were trying to figure out with our energy modeling, how this affects the sustainability and the energy efficiency of the home.  

Speaker 1: And we’re finding out that it absorbs all the heat during the day. And so it doesn’t get to the building envelope itself. So all the heat in the summer doesn’t penetrate these walls. So you don’t feel it naturally naturally just somehow. And same with the cold, the bitter cold. It, it, that concrete absorbed it all and then releases it during the day or, or it releases the heat at night. So, so the fact that we stripped everything out, put insulation in we’re the energy model in this house is gonna be phenomenal. I mean, it had zero insulation, it was comfortable. And now we packed it with insulation, made it airtight. This is only gonna be this next layer of efficiency that we have never experienced before.  

Speaker 3: It was so naturally like that because we were through the heat dome, we would come down because we didn’t have our permits yet. So we would check in and do it last summer yeah. Of last summer. And we would be like, wow, it’s pretty comfortable in here. It’s not O as oppressive as it is outside. Yeah. So we knew going into this, that the stucco was so valuable and that we would have to emulate that in our addition. And we had to find somebody who could do the same, because this is a different texture than a lot of stucco that you see, right. It’s a much thicker, heavier texture. Mm-hmm <affirmative>. And he did that all hand tr so it was all by hand, but  

Speaker 1: The wood behind it was pristine, looked like it was brand new. You saw the writing on it, where they did their measurements. The house paper was a hundred years old. This was beautiful. And it was like, no leaks, no water issues. You think around a window or a door, there’d be some failure at some point nothing. The house would just, the bones were perfect. And then the last thing on the front of the house is this Portico here  

Speaker 2: With reference a Portico is the section of your front porch that hangs over the front door. So you don’t get rained on.  

Speaker 1: As you can see here, it’s quite thick and you can see the seam here. It came in pieces and they set this down and put this top cap on it. Now we still gotta paint it and detail it out because we trying to figure out how to paint all these details and not make it look weird. But this wall is like this thick. And when we stripped it out the in, so you can see the inside at the backside, this thing is this huge concrete kind of piece they just set here. So I’ve never seen anything quite like this before. It’s kind of  

Speaker 3: Special. It’s pretty elaborate. Yeah. I mean, it’s definitely was a feature when they built this house. This whole front area was I think, supposed to look like a, you know, a Mediterranean Villa. And that’s what it feels like facing the lake. And obviously at the time it was built lake Washington was a street, but it was much quieter. So you can imagine that this was just an amazing pro out. And you feel like you’re, you’re in Italy,  

Speaker 2: Standing on the front porch, overlooking lake Washington on the sunny morning. It really did feel like the lake Como of  

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Speaker 2: We’re walking in. You can obviously still hear the construction going on. Yeah. But now you’re at the point where you’re just putting the fine details.  

Speaker 3: Absolutely. This is all the fun stuff. This is where the magic happens. Yeah,  

Speaker 1: For sure.  

Speaker 3: This originally was a second floor room. Oh wow. And so one of the things that we knew when we came in this house, it was quite constrained. So you have this magical entryway, but when you walked in, it felt very compressed. And so we, one of the things that I said before, I would live here and think about this house is that this floor needed to go and we needed to have this be a double height entry.  

Speaker 1: You see where that belly down was the bedroom justice, the bedroom do that, that wall dove right into. So these banisters cut off about halfway up and shorten down. And so this was the floor. And so we had to find someone to tool these exact pickets like this, and this was all custom done to match exactly what was here before. So we  

Speaker 3: Can, so if the original ended about three quarters of the way up and the last quarter all had to be made to match,  

Speaker 2: I love the Karen attention. Both Abby and Anthony took during this project. They honored the old, but enhanced it for a modern lifestyle. So now we’re entering  

Speaker 3: The  

Speaker 1: Dining room, the dining room, the formal dining room. Yeah. Front of the house. We tried to keep as original as, as possible. This is the original millwork that was on original windows, the original crown moldings that we pulled off, saved them, labeled them and put ’em all back. So it was really a, uh, fun challenge. We  

Speaker 3: Took, took them apart, taped them together, labeled them. We had a giant container out front. That’s no longer here that housed all of our millwork. The windows were taken out retooled, everything was fixed or all the hardware was fixed. And so one of the things that we had to decide in balancing this whole project is do we just replace all of the windows? Because naturally you think, well, there’s single pain, but it was important to me to maintain the original facade. And so we decided that we would put new windows in our addition and keep the old windows in the front. And though that will take some balancing with our en energy modeling. Right. It’s not necessarily the most efficient, there was some level of decision making that also had to do with the house. How do we maintain the house?  

Speaker 5: Yeah. And do you think you would be able be comfortable with it if the house wasn’t built with that stucco like cement layer?  

Speaker 1: I, I think it has a huge impact on, on the comfort level of the home for sure. But what we do is we guarantee the comfort level by all the things that we do and have been doing for the last 15, 20 years in building sustainable homes that framing on this home, which is rare for this age of a home is a two by six wall, which is really rare. Yeah. In an old house like this. So we knew we had plenty of opportunity to pack this with cellulose insulation to make it airtight. So, so we do all the things that we always do. But now once you get it down to the bones, now we know how to put it back together in the most efficient way possible, making it airtight and super insulated. And, and then the heating and cooling system came into play. And this is where her and I probably really only butted heads on one topic. Anthony  

Speaker 2: And Abby were able to agree on a balance between preservation and modern energy efficiency when it came to the windows and the front facade. But the radiators, that’s a different story.  

Speaker 1: This house had old radiators in it, which are great. It, one of those radiant heat, right? It’s comfortable. It’s neat. Had these big radi. You can see the holes on the floor where they used to sit. They take up wall space, but we were really trying to make this house, um, no gas on it. We didn’t wanna have gas heating and cooling in this house or hot water. And we partnered with Mitsubishi and Panasonic who worked with us. And I wanna give a shout out to those guys cause they actually donated all the heating and cooling systems and the, uh, fresh air, energy recovery ventilator for this house to make it really sustainable, uncomfortable. So they saw the value of what we were doing, cuz if we can pull this off and show other people how to make an old house new again, there’s a lot of value in that, right? So Abby wanted to preserve the heating, which is which I think is great. And I love it too, but we’re like, we’re gonna put state of the art controlled by us and our cell phones. We can control the heating and cooling this house. We don’t wanna have a heat dome. So we wanted cooling. We knew that. So we put a state of the art heating and cooling air handler heat pump system in this house. We did two of ’em actually one for each four.  

Speaker 3: Oh, when we set out, we thought for me, because I’m more of the preservationist, I was really, really committed to saving the radiators. I was like, that was like a deal breaker for me, that those radiators and they’re not even great for space planning. They were big, they were giant. Yeah. But I just had this feeling that they needed to be here. So we continued to have lots of conversations. So we decided, okay, we’re gonna keep them. And they’ll just be this backups backup system. And so then we started down the path of keeping all of these radiators with this backup system. And then we found that also we have to find the balance of co it was cost prohibitive to have a whole secondary system for a house. The funny thing about construction is once it’s gone, you sort of forget it was ever there. Mm-hmm <affirmative> so I just had to sort of go, okay, so once they get moved out, I will no longer remember them. <laugh>  

Speaker 5: Even outside outta my,  

Speaker 3: Even though I felt like I was gonna strap myself to one and chain outside. I mean, I, so, and hopefully they’ll live another day in some other place a woman had come by to a church. She took them and she, she took them for the church because they already have radiators. And she was super excited because she had a lot of variety to choose from.  

Speaker 1: Yeah. It’s kinda like we wanted cooling. We wanted cooling in the house and this system does both. So like, okay, does the heating, it does the cooling really efficiently. One of these things ever gonna go on? Why would we have a gas boiler backup system? It’s just like, you know, I love our, we have a little convertible bug that we drive a few weeks a year, but you don’t drive it all the time. Cause it does make sense there to Northwest it, it is not efficient. We finally got to a place where it made sense for us just to move on from that  

Speaker 2: We headed into the kitchen, which Abby and Anthony have hugely expanded from the original galley style kitchen. They managed to preserve the historic feel of the house while installing the creature comforts and personalized touches for their family needs in 2022.  

Speaker 5: So the old house, this is a massive island. I know  

Speaker 3: It is  

Speaker 5: The biggest  

Speaker 3: 15 feet lot.  

Speaker 2: <laugh> yeah. Like most other families, they spend a lot of time in the kitchen. So they added a giant 15 foot island and the rest of the kitchen will have updated modern appliances. Yeah.  

Speaker 1: The old house ended right here. So this was the kitchen you’re in the old kitchen right now.  

Speaker 5: And how much space. Okay. So you have a 15  

Speaker 3: Foot island in, there was kitchen. So the kitchen was about, is that right here to there? Yeah. 10 feet. It was a little galley style, small kitchen. So the rest, the 14 feet this way are all new.  

Speaker 5: Yeah. Wow. And you put in these beautiful beams.  

Speaker 3: These are, these are, yeah. These are structure to hold up the addition and we wrapped them and this is hundred year old Barnwood.  

Speaker 1: So this was, that’s actually a skin on the old beam that we made it and they did an incredible job cement it. So you could barely tell that’s an old beam. So that wood on the floor was brought in from Montana and our, our mill guys put that on that old glue lamb there to support the same one over there. So we wanted to kind of keep with the old kind of rustic kind of feel of a house like this, for  

Speaker 5: Sure. Wow. Yeah. There is a, you can, you, it feels like it is seamless, but it has the updated amenities that we all  

Speaker 3: Absolutely. It was a creature comfort. Yeah. Yeah. The creature comforts. I mean it, you, it, it had, it probably had an eighties remodel on a very modest kitchen. Kitchens were not big centers of the family. Like they are now. I mean, we spend a lot of time in our kitchen all together. That’s where we, we hang out and when we have parties, that’s where everybody converges is in the kitchen. Yeah. Those are the most popular and in our new development, that’s what I, I build the houses around the kitchen. I just feel like those are centers of people’s universes now. And especially with COVID too. I mean, that’s even reinforced that more. Yeah. So for this, for us, this was though it is massive. And a lot of people come over here and walk through and go, are you kidding me? <laugh> love it. It’s  

Speaker 1: Huge. Hey, we’re timing is perfect because you know, our daughters in New York going to school at NYU and our son is gonna be a senior. So in a matter we’re, it’s gonna be us. So  

Speaker 3: <laugh>, we’re sitting at this massively long island. That’s like, if you put in a  

Speaker 1: Fight that day, depending on how far away from you sit for another. Exactly. Yeah. So from this point forward it’s, it’s, it’s new construction. And we did a, uh, a slab foundation on, um, pin piles, cuz we didn’t wanna disrupt the soil around the back of the house. So we, so it’s all new going that way. A new, um, uh, dad, which replaced the old carriage house and then a new house behind it as well. So the, it goes street to street. So  

Speaker 2: We continue to walk through the house and Anthony and Abby point out different elements. They’ve preserved the old traditional doors. Now we,  

Speaker 1: We actually preserved the front and back door that were on this house. And there was a third door, which we moved over to the dad. So we kept these old traditional  

Speaker 2: SCOs.  

Speaker 1: This was the original crown molding that was in here  

Speaker 3: As well. All original millwork in this room, original doors, the original everything’s original in  

Speaker 2: Here, tiling on the floors,  

Speaker 3: Which all are tile from the 19, you know, turn cent, turn teens early teens.  

Speaker 1: That’s gonna be Marvel in the other fireplace, but this one we decided we’re gonna present.  

Speaker 3: Oh yeah, this is, these tiles are beautiful  

Speaker 2: Light SCS.  

Speaker 3: A lot of the lighting is old. I love lighting. In my spare time, I spend a lot of time looking at lighting,  

Speaker 2: Old growth fur  

Speaker 1: The floors in this house were mahogany for the, the  

Speaker 3: Combination of mahogany in fur old growth fur. Oh.  

Speaker 1: Which is, which was really weird. And so we didn’t know, there was a combination of, we thought there was fur in like hallways and, you know, auxiliary closets so forth, but it was all stain the match. And there was all inlaid in certain ways where it was all pattern. I was like really cool. And then we sanded these floors and we realized that there was fur inlaid with the Maha that was stain to match. So it was like, whoa. So it kind of threw us for a loop. So all this is old girl fur that Abby procured that matches the fur that was in the original house. So when this is all sanded and done and stained, it’s gonna look like,  

Speaker 3: It’ll look the same. It’ll look. Exactly, exactly. And that was really important because we started looking for mahogany, which is difficult to find. And it’s mainly from rainforest and it’s not there, there there’s nothing that you can find that’s sustainable. So we really wanted to find something that was still sustainable  

Speaker 2: All while balancing each of their two top priorities, a net zero home and preserving as much of the original integrity of the home is possible.  

Speaker 1: Um, but, but behind the walls, you mean, you’ll see lots of little wires poking out and mm-hmm <affirmative> so we’re gonna have speakers. And the whole house is wired for a complete home management system to run the entire heating, cooling, you know, security, you know, the doorbell cameras everything’s run on one app. So this, and we’ll have a key pad in the kitchen, you know, so you can control and see everything. So this house is gonna be able to, uh, you can control the solar, you can see how much solar’s gonna be coming into this property cause we’re putting solar panels on. So that was really important for me to have a house that is is efficient, but also can, can live into the future as well. And, and the clean energy that this house is gonna produce, hopefully will offset the energy it takes to kind of keep it going.  

Speaker 1: Yeah. So we’re really close the energy. Model’s gonna be real close to making it net zero, if not, it’s gonna be darn close. So, but, but really to be able to manage a home today is important. And having the ability to manage it, you know, uh, is, is crucial because you can, if, if it’s not being efficient, then you can make adjustments to the heating and cooling to make it more efficient. Right? You can balance it. You can make, have fresh air coming in at certain times and, and really make the home really, really comfortable. That’s the important thing is the home needs to be comfortable. The fresh air needs to be filtered all the time and, and, and breathing. We don’t want there’s no toxins, no VOCs added to this house. No, no, no off gassing of anything. Cause that’s part of what we do. We don’t want to breathe that’s those are bad. Yeah. So all the stuff that we do is, is what we’re doing here too.  

Speaker 2: So even standing within the house and looking out of the windows, you were struck by how gorgeous the flowers were. It was almost like you were surrounded by an old English garden.  

Speaker 1: Those roses were all in the backyard, up, down the side. And they were,  

Speaker 3: They had a pretty immense rose garden because they of course had a street to street lot with an amazing yard of flowers and established. So  

Speaker 1: We saved them all. We, we did, we transplant ’em and put ’em right there,  

Speaker 3: Much to our guys. They were like, are you crazy? Yeah, we’re saving all these. They had the most amazing height ranges out there and we’ve saved as many as we could possibly find spots for.  

Speaker 1: So those are temporary. We’re gonna put ’em somewhere so they can live on longer. So this yard originally sloped down from, from that patio about, at, at six feet down to the street. So it wasn’t like a steep slope, but it was a gentle roll down and it made the house feel very like when you walked out the street, you kind of, your eye went to that beautiful lawn and it went up to this house and it was very grand feeling. And what my goal was is that I wanted to have this nice level to get this feeling of not being so connected to the street, get above it a little bit. So we’re in the middle of adding this two tiered, um, kind of like stack rock wall out there. Mm-hmm, <affirmative>, that’s gonna create some layers and it’s gonna bring up that, that total yard about five feet. So it’s gonna be completely level out to the end. And then it’s gonna have these two step stack stone walls, which are very English kind of looking, it might look appropriate for this architecture and then we’re gonna landscape around it. So we’re gonna have a flat yard. It is gonna cut off the street, but it’s gonna still enhance the lake  

Speaker 3: Well. And, and when this home was built in 1919, that street wasn’t as busy. So being mindful of how things have evolved, mm-hmm <affirmative> we needed more buffer. This is a, a major it’s busy street. Now it’s, you know, there’s a lot more cars on the road than there were in 1919. So of course having a little more buffer when it flowed to the lake, the, our yard just flowed right down to the street. It just felt like now to give us that little bit of noise buffer, as well  

Speaker 2: As our tour was winding down, Anthony explained how this project has energized him to take on more traditional home restorations and make them energy efficient.  

Speaker 1: I wanna do a net zero energy Victorian. I wanna do a net zero energy. Mid-century modern. So let’s flip the script now and let’s go back to traditional architecture, but do it the way we do it. Right. Which is efficient and not make it, not everything has to be modern to be energy efficient. We have this symbol of green is modern. It’s like, yeah, that’s the story we’ve been telling, but it doesn’t have to be the story that continues. Right? So, so that’s what we’re trying to do. This is just step one. And uh, we design our next new single family home. So you’re gonna see a Victorian an Italian night who knows, right. Craftsman. My goal is, is that we can show all these builders out there and people who own old, beautiful homes that, you know what don’t turn ’em down. You know, we can show you how to make ’em net zero energy and bring back the details and the comfort that that you’ve been missing because these houses are very special.  

Speaker 2: Thank you to Anthony and Abby meshk for taking us through their beautiful restoration and opening our eyes to the possibilities and promise of net zero energy homes. Inspired design is brought to you by the Seattle design center. The show is produced by large media. You can find them@larjmedia.com special, thanks to meet Jesus Suzuki, Lisa Willis, and Kimmy design for bringing this podcast to life for more head to Seattle design center.com, where you can subscribe to our newsletter and follow us on social media. On the next episode of inspired design, we head to the water to meet Michelle Linden architect and interior designer who takes us through an iconic floating home.  

Speaker 6: There’s so much activity that you can see just sitting in this living room. You can see right now, look at the pirate ship that’s coming by, um, for Seafair. So in the summertime, it is very active out here. All the fun things that are happening on the lake are happening essentially in your front yard. 

 

Jim Olson | Harmonious Habitat

Jim Olson | Harmonious Habitat

In this episode of Inspired Design, we head 60 miles southwest of the Seattle Design Center to Longbranch, WA where we meet Jim Olson, the Seattle AIA Medal of Honor recipient and founding partner of renowned architectural firm Olson Kundig. He takes us on a private tour of his cabin on Puget Sound, where we learn how his accidental and purposeful design choices seamlessly blend the surrounding forest with the structure of the home to create the ultimate peaceful retreat.

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Behind the scenes

EPISODE’S LOCATION

Cabin at Longbranch, Wa

JIM OLSON

As the founding partner of Olson Kundig, Jim Olson has explored the aesthetic interplay of art, nature and architecture, and the relationship between light and space, for over fifty years. Olson has received numerous honors including the Seattle AIA Medal of Honor and many national and international design awards. His work is the focus of four monographs and has been published more than one thousand times in venues worldwide, including the New York Times, Dwell, the Wall Street Journal, and Architectural Digest. Olson’s work was the subject of a traveling career retrospective that originated in 2011 at the Museum of Art at Washington State University, as well as a solo exhibition at the University of Washington in 2015. Under his leadership, Olson Kundig has received a National Architecture Firm Award from the American Institute of Architects, has been included in the AD100 list 13 times, and for four years has been named one of the Top Ten Most Innovative Companies in Architecture by Fast Company.

OLSON KUNDIG

The firm is led by 14 principal/owners who are supported by a team of over 250 in both Seattle and New York. Olson Kundig’s in-house Interiors Studio, founded in 2000, and Master Planning & Landscape Design Studio are integral parts of the firm’s practice, resulting in designs that foster a cohesive experience of the entire built environment.

Olson Kundig

 

Speaker 1:        For me, architecture is about making other things stand out and not so much. The architecture itself nature is the teacher.

Speaker 2:        I’m Gina Colucci with the Seattle design center every week on inspired design, we sit down with an iconic creator in a space that inspires them this week on inspired design. We meet up with Jim Olson of Olson. Kundig architects at his cabin in long branch, Washington, about an hour and a half Southwest of Seattle.

Speaker 1:        And my grandparents got this property in 1912. And the only way to get here was by boat. They’d come on little passenger ferries out to the long branch dock and then row in their rowboats over to their property. But it’s just such a perfect view. Mount Rainier is right across their framed perfectly, uh, between those two islands

Speaker 2:        With over a century of family history. Jim spent summers here as a child and when the original cabin burnt down in the 1960s, his father gave him a unique opportunity, the perfect project for a kid with a budding interest in architecture.

Speaker 1:        And then my parents, uh, later on built a house next door. And when they built their house, they had to tear down what was the bunk house. It was a place to send the teenagers out into the woods to get rid of them. And so I was 18 years old and uh, first year in architecture school and my dad gave me $500 and said, go build a new bunkhouse. So the first part of our cabin was the bunkhouse that I built when I was 18. Honestly, I think it was probably the best opportunity I ever had in my life to think about things as one thing, but actually to make it real. That’s what architecture is all about. And that was my first experience. And, uh, it just meant so much just little things that happened to you, you know, early on, you know, he always said, uh, if you can, uh, make your a career out of what you’d like to do as a hobby, you’ll always be happy. And I liked art and I liked building things. Architecture was kind of the perfect balance of all that for me. And so he did encourage that. It really, it really meant a lot

Speaker 2:        From the beach we turned toward long branch cabin, comfortably nestled amongst the trees with a perfect view of the water in the mountains.

Speaker 1:        If you know about fro the idea, the best location is on a hill overlooking water facing south. And this does that cuz south is, is that way. And it’s just sort of the most favored orientation and situation. I didn’t realize that at the time, but it was a lucky coincidence that, uh, that we did, we did end up facing that way, you know, new year’s and Christmas, the setting sun comes directly into the living room and goes all the way through the house to the very end and sort of like stone hands or something <laugh> that wasn’t planned either, but it’s just such a wonderful coincidence. We, you know, architects plan all the time to make this happen and that happen. And then there are these things that just happen by coincidence. And sometimes they’re the best ones

Speaker 2:        For a home of a very well known architect. Long branch cabin is very unassuming. Like it perfectly blends in with its surroundings and you have to stop and notice the angles and the wood and the glass. Otherwise you might just miss it. As we walked up to the house, Jim talked about how there are rooms outside and inside the house

Speaker 1:        In a, in a lot of ways, this field is the living room of the house. There are other little rooms around, there’s a, a, there’s a meadow up in the woods up there and that’s like a little room. And then I’m gonna take you to another room here. These trails have been here forever. I mean, they might have been here for like a thousand years as far as I know, but I know, you know, at least early 19 hundreds and I just love ’em. And so I, I always have people park down below and walk up the trails because it’s so much nicer. Yeah. You get the, sort of the mood of the place. These are all huckleberry, uh, bushes and they’re, you know, they’re really good. They’re, they’re ripened the end of summer. So there’s a little place up here are where, uh, you can, you know, viewing Mount Rainier and we, we have a little garden that’s, we’re just getting going, but, um, it’s nice to have these little outdoor rooms mm-hmm <affirmative> so this is like a room in the house.

Speaker 1:        Yeah. And from here you can kind of see, um, the, the original cabin has Moss on it and that’s intentional. I mean, I, I, I could scrape it off or I could replace the beams and all that, but I like the fact that it looks old and weathered because it is mm-hmm <affirmative> and then it makes the, you know, the layers of history can be read more easily by, um, you know, just letting it, letting it decay a little bit. And I, to, when it gets to the point where it has to be replaced, I’ll just replace it and we’ll start over. But

Speaker 2:        <laugh>, as we stand in front of the cabin, Jim built in the sixties, it’s clear the structure embodies Jims, enduring philosophy as an architect.

Speaker 1:        You know, I kind of grew, I grew up up in Enumclaw in the woods and then here in the woods and I’ve just loved just being out in nature and listening to the birds and, you know, it’s just, it’s just a wonderful thing. And so this little house was, um, just intended to be just a little place to just sit and just be part of the natural world. Um, and it still is that way really. So that’s how it started. And, and I think in a sense, you know, my whole philosophy of an architect is, is integrating, you know, life with nature as much as possible. And that was really what that house was all about. And it’s sort of continued, uh, you know, I haven’t really changed my mind on that <laugh> and especially in today’s world, I’m just more and more, uh, adamant about, um, you know, working with nature as much as we can. The wood is just wood that’s weathered. And it’s the, essentially the color of, you know, some of the weathered wood on the trees and the driftwood on the beach and, and all that. So, you know, it’s just like, it grew here

Speaker 2:        Over the years, Jim has expanded the cabin building wings of the house as his family grew with major renovations in the 1980s and early two thousands

Speaker 1:        In the early 1980s. Uh, we out kind of outgrew this one little house. And so we added and we wanted a bathroom. So we made a little outhouse that actually had real plumbing. And that’s this little building is that, and we put it up the stairs, it’s like a little template, had a bathtub, a sink, and a toilet in it. And it had all glass ceiling <laugh> and, uh, it was wonderful little spa kind of thing. Yeah. <laugh> yeah. And then we had a bedroom that was another little building and it had a, a glass dome over the bed. So when you woke up in the morning, you could look up and see the trees and you’d see birds go over and things like that. And then at night you saw the stars. So it’s really, uh, you know, three little, little build, separate buildings out in nature.

Speaker 1:        The first was teenagers getting away from everybody. And the second was, uh, expanding to, you know, accommodate a more mature life and, you know, kids and friends and all that. Then as we got older, getting up in the middle of the night, in the little house, over there, walking across a deck in the rain and up these stairs to the go to the bathroom seemed a little much. So we added another wing and that was the new, uh, living room, which you can see right there. So that was done about, uh, about 2000. And I’d been dreaming about having this room, like a real living room in the house for maybe five or 10 years before we actually did it. Oh, wow. And so I’d be sketching and thinking, and wouldn’t it be great to be up in the trees? So we did that and then we did an indoor bathroom here, so that, uh, and then it connected the bedroom to the rest of this.

Speaker 1:        So we had a bedroom living room, kitchen, and bathroom all in, under one roof. So that was nice. <laugh> and then this became like a little Playhouse for my granddaughters. And then it’s the original kind of now it’s now it’s my, uh, I have my, the elliptical up there. And so it’s, it’s the, the gym essentially. So now we’ll go inside and this is the everything’s original, the stain, hasn’t it. We stained at once in 1958, never stained it again. And I just, you know, I love the way it looks. Yeah. It gets, it changes color, you know, over the years,

Speaker 2:        Just before going inside, we’re standing on a staircase heading into the main house and I’m stopped in my tracks by this giant furry,

Speaker 1:        There is a tree growing in the middle of the stairway, going up to the fitness center, we call it <laugh>. And, uh, the tree keeps growing and the, uh, stairway buckles and things as the tree grows. And so we have to keep widening the circle, uh, around the tree. You know, it’s kind of the attitude here. Nature wins when there’s an argument, nature wins, we accommodate nature as opposed to the other way around, but look at the, see the color of the bark, you know, there’s this kind of brown, but then see how it’s, uh, it’s where it’s weathered. It’s kind of a silvery, uh, color. And then there’s the green Moss on that. I was gonna say like, yeah, light, but you know, there’s a lot of, uh, yeah. Color. And then the SAP is kind of a, you know, shiny, but a lot of times as the bark weathers, it gets silver and it actually is almost metallic or something.

Speaker 1:        Wow. And so, you know, the house, uh, when we did the 2003 edition, we, uh, started using metal with it. And so the, uh, galvanized metal columns are silver, like the, uh, bark on the trees, you know, it’s, uh, very much the same color and it kind of sparkles. Yes. And so you get that sparkle and then you get the sparkle off the water too, but it’s just, you know, NA I guess nature is the teacher here. You know, I spend more time, I think looking at nature than I do looking at other peop other architecture, couple of things that I think are really important here are the verticality of the fur trees. And they’re, you know, they’re very simple, they’re straight. And then how the organic plays off of that and the, the straight lines help the organic shapes to be appreciated more, I think.

Speaker 1:        And then, uh, looking across the bay, how the islands are defined by the straight line of the water in the beach, and especially Mount Rainier, you know, there’s this very simple, straight line that the water defines, and then you have the, the big mountain coming up from that. And so the straight line underlines and is a point of reference that, uh, is compliments the shape of the mountain. Like for me, architecture is about making other things stand out and not so much the architecture itself, even though, you know, of course you want it to be beautiful and that works with nature. And when we go inside, you’ll see how trees and things are framed by the rec to linear, uh, windows on the inside. And it, the same thing works with art. So in a lot of the art houses that I’ve done, you know, the columns and beams and things, you know, help, uh, frame the art pieces, which are quite often very, uh, organic in, you know, what’s going on in them.

Speaker 3:        Seattle design center is the premier marketplace for fine home furnishings, designer, textiles, bespoke lighting, curated art, and custom kitchen and bath solutions. We are located in the heart of Georgetown, open to the public Monday through Friday with complimentary parking. Our showroom associates are industry experts known for their customer service. We’re celebrating new showrooms and added onsite amenities, visit Seattle design center.com for more information about our showrooms and our find a designer program.

Speaker 1:        I mean, to me, everything is it’s like the landscape, the building, uh, you know, the furniture, the art, it, you know, it’s all one thing to me it’s best when it’s really, uh, connected together and they sort of inform each other. So everything affects everything else. So, uh, this used to be the deck right here. So where we’re standing, uh, was the deck of the original cabin. And it ended here, you can see the outside of it.

Speaker 4:        And this was, yeah. This one isn’t so weathered the, no, we stained that. We restain that.

Speaker 1:        Yeah. We stain that. And, uh, then, so you step down to the living room, which kind of helps you kind of, you know, look down into the, into the beach, but notice the window at the end there. How, um, you, it feels like there’s no glass in the window.

Speaker 2:        Well, you’re standing there and it, you notice something is different, but you can’t put your finger on it and you almost have to stand there for a minute to really let your eye realize that it doesn’t look like your windows in your house. It’s almost like a secret.

Speaker 1:        There is no glass in the

Speaker 4:        Window. So you step down into like,

Speaker 1:        No, there really

Speaker 4:        Are we gonna fall out? No,

Speaker 2:        I know there’s no frame to these windows. The window goes all the way past where the floor begins. So it feels like you could be inside or outside almost like a covered patio.

Speaker 1:        Sometimes people come in and they think there’s no glass in the window because

Speaker 4:        You can’t see the bottom.

Speaker 1:        Yeah, exactly. Yeah, exactly. Uh, the bottom, uh, is the, the glass is held down below the floor and then this column on the side and the beam going across there hide the edges of the glass. So when you first look at it really, uh, it looks like there’s no glass in the window. Yeah. And it’s, it’s just a way of connecting the inside with the outside where you just subliminally feel like you’re outside when you’re here. And some people do come in and they say, oh, I thought this was indoors it’s outdoors.

Speaker 4:        And when you were dreaming about making this space, is that

Speaker 2:        Something that was in your original concept

Speaker 1:        Joins? Yeah. Yeah. Yeah. It’s really important to me to try to, and then see the framing, like the trees help frame the view of the beach mm-hmm <affirmative> and then the architecture works right with the trees to frame the beach. Then the beach is going at an angle rather than just straight across. Right. Another thing I’m really into is proportions getting these sort of vertical proportions. And I think it, you know, comes from like classical Greece and Egypt and all, but also just the woods here, because what, you know, we’re, we’re in this situation where the, these vertical, uh, trees, I think they inspired the, you know, the early, uh, civilizations, uh, trees obviously. Yeah. And, uh, you know, they do give a sense of elegance that mm-hmm <affirmative>, uh, I think is really important. So that’s that, and we can walk down here.

Speaker 2:        We took a few steps down into the main living room and Jim showed us a chair. He had designed,

Speaker 1:        We call it the long branch chair and a

Speaker 2:        Quick description of the long branch chair. It’s very simple, actually only three pieces. You have one piece of wood that makes the back, that’s tilted at a angle, and then you have the seat that tilts up a little bit. And then another piece that comes out of the back for support Jim designed it so that it was comfortable when you sat in it. But also very simple. If you wanna see what it looks like, head to the Seattle design center website and click on the podcast page, there’s all types of behind the scenes photos.

Speaker 1:        It’s, uh, just a chair to sort of sit out on the decks and then have one in the living room. And, uh, again, the ADOC chair, uh, experience informed the angle where you sit and I just wanted it to be, you know, really simple. So just with like one slab of wood and then, uh, you know, one thing to hold up the seat and the seat kind of candle levers on both sides. And there’s a little, uh, extension of that, of that vertical that holds up the seat in the back that keeps the chair from tipping over backwards. And that’s, that’s it. So it’s the least amount of pieces. See, there’s just that little thing.

Speaker 4:        So it’s, it’s four pieces of wood Uhhuh, the, the main slab, that’s the backrest, right? The, the second

Speaker 2:        Slab that says the seat, and then you’ve got the triangle underneath the seat Uhhuh or the slab. So I’m triangle and then the piece in the

Speaker 1:        Back that, yeah, that’s it. Yeah. My wife is a reader. And so she’s always sat in this chair and reads and you know, when you sit in that chair, you’re just, you’re like right there with the squirrels and the birds and it floated. Yeah. And then it’s good light. Paul ki home is the designer. It’s a, it’s one of my favorite chairs. So simple, you know, it just has the, you know, that the, the leather piece and then the legs. And that’s it. I just love that chair. And it’s beautiful in silhouette

Speaker 2:        Chairs are an important part of long branch. The ability to comfortably sit and read and write and design and relax are important to Jim’s overall vision for the cabin. Most of the chairs Jim has designed himself. However, there are a few that he has picked up along the way in between the kitchen and the living room. There was another table. And around that table were these two chairs. They looked like chairs. You might see in a 19th century schoolhouse,

Speaker 1:        I just got these. And it says Boeing company. I just discovered that after I brought it home. Oh yeah. It says Boeing company. And so, but aren’t, they beautiful for me? Like I know it when I see it, my granddaughter and I were down going through these antique places and way in the back in a, you know, just a sea of, of chairs. It wasn’t, they weren’t like on display or anything. I saw one of these and I just said, there that’s the chair right there. And there were two of them, which was just perfect.

Speaker 2:        It’s like, almost like a physical reaction.

Speaker 1:        It is, you know, it, I mean, you kind of know, know it when it’s, when it’s the right thing. Yeah. So now we’ll go back to, um,

Speaker 2:        As we head to the next room, I’m struck by how calming the energy of the houses.

Speaker 1:        So this used to be the bedroom and it was a standalone room. The bed was here and your head of the bed was there. And so if you lie down in the bed, you can look up and see, yeah. And then we could look at the stars from the, from bed <laugh> it was great.

Speaker 2:        And are these the original,

Speaker 5:        You know, you kind of, it’s like, you can tell that that was

Speaker 1:        Outside. That was original. That was outside. Yeah. Yeah. Light fixture. So this is kind of interesting here, cuz you have, uh, 2000, these columns are 2003. These columns are 9 19 58 and this is 1980. You have these layers of history, you know, you can look around the place, the advantage of adding on rather than tearing things down and building new is that you get these sort of layers of, of time that you can read when you’re in a place like old European buildings, when they’ve been added on all these times, you kind of can tell the that. I think it’s great.

Speaker 2:        This cabin is like a beautiful patchwork of time. As we head into the hallway. It’s almost as if time stands still one side looks out into the forest and the other looks out onto the clearing and the bay.

Speaker 1:        So this was all just outdoors. Oh wow. And so now we’re seeing the outdoors of our former bedroom. And so you can, you can walk by and look into the old bedroom and there are blinds if somebody’s sleeping there and that makes into a bed too,

Speaker 2:        We walk further into the hallway and get a real grasp of what Jim is talking about. We you’re in a hallway and you have a window to your right. Yeah. That looks in, out into the forest. But then as you turn and look through the window into the bedroom, there’s another matching window and you can still see the beach,

Speaker 1:        See the beach, the beach, right? Yeah. So, yeah. And so there’s a courtyard back here that gives you privacy. But you know, like I’ve sort of developed this thing about long hallways and most of my houses have these long hallways and quite often something natural is at the end or, or maybe an art piece. But while you’re walking, it’s sort of like it’s sort of ceremonial or something. But uh, as you walk along, you’re focusing on a beautiful composition. That nature has supplied. We can go out here first. So there’s a little courtyard and we did the courtyard because when you’re out in the woods at night, it’s awfully dark mm-hmm <affirmative>. And uh, you always wonder if somebody’s gonna walk up and look in the windows. And so we made this courtyard, it’s like a little private room that has a gate and everything. So it’s, it’s really secured.

Speaker 2:        The courtyard that we’re in is fenced off, but you can’t see the fence because of the passage of time and the greenery that’s grown. And two other walls of it are the home. So you feel like you’re enclosed and, and safe in this space

Speaker 1:        Here. We were in the woods essentially. And uh, you can look through the house and see the water, but if it’s summer and there are jet skis and noise out there, you don’t really hear it back here. Or if it’s windy, this is not windy back here. So it’s really nice protective. Yeah. It’s a kind of quiet, nice little place to retreat to

Speaker 2:        Looking back to the long hallway, you have these beautiful other chairs sitting with a little, uh, center table and, and lamp and they compliment their backdrop of the outside. Yeah. And that could be

Speaker 1:        A picture. I know. Yeah, exactly. And they’re, you know, again for reading they’re they have the they’re back to the window, but when you’re reading, that’s the perfect thing to have the light coming over your shoulder and then you see the water in reflection in the other window. So that’s, that’s something that I have to say. I didn’t really plan it, but it’s one of those things that we were talking about. Some wonderful things just happen without you realizing you’re doing it. And especially if it’s really sunny out and it’s a lot of bright light on that side, then you get reflections on those windows and it it’s just like, it’s like a watching a, a movie or something behind that’s actually what’s going on behind you. Yeah. But this is a great place to have lunch or, you know, have a drink or something. Yeah. Or just come and read

Speaker 2:        On it. As we come back into the hallway of the house, Jim dives, deeper into his philosophy of bringing the outside inside and blending those two worlds

Speaker 1:        Moving back in into out now we’re, it’s like, we’re going through the woods and this is the woods here, cuz it’s all dark. Yeah. And it’s, and then you’re you come out of the woods, just like you would, if you were on a hike somewhere and you come to what I would call the clearing and then it’s lighter and higher and more open. And so, so this is the, the bedroom, ah, and the, you know, it’s funny because the old bedroom, uh, had windows on both sides and then the skylight above and it was great, but you always had this funny feeling that is someone out there. And so then I realized that, you know, there’s this whole theory about prospect refuge. People are most comfortable and animals, cats do this too. They always pick a corner where they have their backup against the wall, but they can see everything.

Speaker 1:        And so we, we put the bed in an alcove, that’s surrounded by, uh, you know, wood. And then the view is, is out this way. And you feel perfectly private and perfectly safe here, but you can, you know, you get this w this one big wall of glass that focuses on the view bedroom should be cozy and you should feel kind of protected when you’re in bed asleep. And then it’s nice to wake up and see something beautiful. The thing about architecture is it just takes your whole life to learn how, you know, all these different things that, um, you know, human nature and how, um, instinct and all those mm-hmm <affirmative> you just start realizing a lot of things over time. This is another magic window because mm-hmm, <affirmative> notice there’s no glass in that window. Oh my gosh. Or it looks like there’s you can just, yeah, it looks like there’s no glass and you get a big smudge.

Speaker 1:        It drops off and then it kind of disappears up there. Mm-hmm <affirmative> and then this is the, the other one. See the floor, uh, yeah, just disappears into the trees. And if you stand, uh, stand right here, if you stand right there, okay. And look out, you, you can’t see where the glass is attached anywhere. Not at all. And the, I, this is just an old plumbing pipe, but I put it here to hide. I’m just experimenting. I’m I’ll get a bronze one someday. But, um, the idea is to have the, this pipe is hiding the actual corner where the glass comes together, cuz that would give away the, the secret of, of what’s connecting the glass.

Speaker 2:        Jim has been experimenting on this property since he was 18 years old. It’s really a full display of his playful creativity. If he hadn’t told me it was a plumbing pipe, I would’ve never noticed,

Speaker 1:        You know, someday I’d like to have a room where you can you walk in and literally you can’t tell that there’s any division between you and outdoors. And this is kind of a next step of this one particular thing. A three dimensional goes around a corner as opposed to just a flat plane since no one’s ever noticed that that’s what it was. Who cares? And plus I like the idea anyway. Yeah. So maybe I’ll never change it.

Speaker 2:        Yeah. As I’m marveling at the magic windows, Jim draws my attention to another one of the cabins intentionally placed comfy chairs.

Speaker 1:        Just sit in that chair for a second and okay. And just so you know, so it’s just a place to sit.

Speaker 4:        It’s very quiet too. Cause,

Speaker 1:        And this is a nice place to, to read or sketch or do something. And then you just start to, you know, once you just sit somewhere and look out into a view or something, it starts to, it takes a while, but you just really get into it. Yeah. You start noticing things you’d never noticed before. And then these ferns have just grown here by themselves. <laugh>

Speaker 4:        Ferns are amazing. I love ’em. I just clipped my own ferns back for the first time and got to watch them like yeah. Grow within like two weeks. They were the

Speaker 1:        Little ones come up the alien like little. Oh, they’re so cute. Yeah. And it’s a little curly top <laugh> yeah.

Speaker 4:        Yeah. There is something special and calming

Speaker 1:        Uhhuh about that. Yeah. Yeah.

Speaker 4:        It’s almost like watching a live painting because Uhhuh, you can see the wind brussel leaves, but you can’t hear it.

Speaker 1:        No. Yeah.

Speaker 4:        And so

Speaker 1:        I did set up a, I have a listening thing with a microphone in the tree. Oh <laugh>. And so cuz I wanted to, I was thinking the only thing missing is the acoustics. It didn’t work the way it was supposed to and I’m not a technical person. So I thought, you know, I’ll just do it someday, but

Speaker 4:        Um, well, and I’m sitting here longer and you said, okay, these ferns grew by themselves. And then you see kind of the younger growth then

Speaker 1:        It’s coming by itself

Speaker 4:        As your eye works through the forest. There’s this giant trunk. Yeah. That is, I, you know, doesn’t, it’s obviously a, a, a dead tree at this point. Right. And

Speaker 1:        It’s an old growth tree. Yeah. That was struck by lightning maybe about mm, 25 years ago. And uh, it was one of the few, you know, really old growth trees on the property. So there’s a great big log, giant log out in the woods there. And it goes all the way from there all the way up to the road that you drove in on. And, and it’s being, it’s being a, a home for little bugs and mice and new life, all kinds of things. Yeah. Yeah.

Speaker 4:        How was anyone here when that happened?

Speaker 1:        No, uh, no, we weren’t here <laugh> I just remember coming out and thinking, my God, the tree fell down, you know, the tree and it split way up high. So, but it’s sort of like a cathedral when you look out there and that’s sort of the centerpiece, you know, and then you have the ones on the side.

Speaker 1:        So now we can go back and look at the BA the old bathtub and all that. So back here, uh, basically, um, when we added the living room on, we, we did just a simple structure that went out on one on the water side to the living room. And on that side, you’re up with the birds and the treetops mm-hmm <affirmative>. And then because the, of the slope at the other end of this long, uh, building you’re burying into the hillside. So we had to carve out the hillside in order to make this part. So there you’re, you know, you’re, it’s like, uh, dirt and Moss and, and ground, you know, uh, little creatures that live in the ground and all. And uh, so you get kind of a, the two opposites of what the wood woods has to offer. This is a complete magic window here. If you stand back here except the reflection’s giving it away. In this case, we hid every, every corner. See, they’re held back about a foot all the way around. One of my granddaughters gave me that, but I hung it there because it defies of where you, you think the window’s here or where do you think the window is? And it, it isn’t here. There’s nothing here. And then at night there are lights shining out into the trees in all these windows. So you, you get that, uh, Vista at night, which is really nice.

Speaker 1:        You’re, you know, again, it’s just one of those situations where you, like, when you’re standing here brushing your teeth, you’re looking out into a little thing and you know, a little bird will, you know, come by and, you know, looking for seeds or something. Mm-hmm <affirmative>, and you’re just standing here brushing your teeth. And you’re kind of, uh, part of that, which is,

Speaker 4:        Well, it’s, what’s interesting too, is that you have more of these little beams are columns outside, right. Where that kind of connects with the ones that it, it lines up with on the inside.

Speaker 1:        Right? Yeah.

Speaker 4:        And so it, it gives you that other feeling too, everything is

Speaker 1:        Continued like connected. Yeah. You just don’t think about whether it’s inside or outside, but you’re, you do feel more connected to what’s out there. Mm-hmm <affirmative> but I’ve been in here when a, a Fox, you taking a bath and a little Fox walks right by, and, and you’re just right on the, your eye level, just a few feet away from it, right. At eye level. And they they’re totally unaware. And, uh, you know, we have all kinds of critters out here, bears and cougars and oh, wow. I have fortunately a Cougar hasn’t walked by.

Speaker 4:        That

Speaker 1:        Would be a little I’ve, you know, everybody said, oh, you’re just looking at a, you know, a, a dirt bank. And, and then I said, just, just wait. And so now the Moss has come in and the vines have grown on it. And, you know, I think it’s, I think, uh, uh, just hillsides, you know, dirt hillsides are beautiful.

Speaker 4:        This is so enjoyable and

Speaker 2:        Calming mm-hmm

Speaker 4:        <affirmative> I kept it just like keeps coming up, you know?

Speaker 1:        Yeah. When I get out, just get out of the car, when you arrive here, you just take a deep breath and it’s like, and then everything, I think your metabolism changes and everything just being, you know, and just looking, I think they, they say in, in hospital rooms, if, uh, even if it’s, uh, just a photograph of a view into nature, it people, uh, heal faster. They’re in the hospital less days and things like that. So nature really does have a, uh, you know, a, uh, beneficial, uh, you know, uh, holistic kind of health thing going

Speaker 6:        For sure.

Speaker 2:        Thank you to Jim Olson for taking us through his beautiful cabin escape in long branch. It was a dream inspired design is brought to you by the Seattle design center. The show is produced by large media. You can find them@larjmedia.com special, thanks to mechi Suzuki, Lisa Willis and Kimmy design for bringing this podcast to life for more head to Seattle design center.com, where you can subscribe to our newsletter and follow us on social media. Next time on inspired design, Anthony mashed of dwell designs takes us through his sustainable renovation of a 1918 Spanish style home.

Speaker 7:        Can we make an old house new again and make it energy efficient and make it smart and add technology and add all those things that we’ve developed over the years into an old house. We wanna show people these don’t need to go to the, to the landfills. You can actually preserve these old houses and make ’em new again. So we set out on this journey.

Donna Dufresne Interior Design

Donna Dufresne Interior Design

Donna approaches each project with a goal of incorporating luxury and practicality that tells the story of each unique space. By paring the client’s personality to the interiors, she is able to give each home a soul. With a design history that started over twenty years ago in Beverly Hills, Donna now lives and designs out of Portland, Oregon.

We specialize in creating custom and timeless spaces. We strive to make every design relevant to the surroundings, and architectural details of the home. It is also important for us to build relationships with our clients, and by staying true to these principles, we have the opportunity to create beautiful and meaningful spaces.

Our projects range from historic renovations to new construction. Let us guide you through the design process, handle the project management, and provide vetted trades to get the job done. We take every detail into consideration to create a home that combines function, style, and high-quality products that withstand the test of time.

Peggy & John Bigelow | Family, Wine, and Everything Fine

Peggy & John Bigelow | Family, Wine & Everything Fine

In this episode of Inspired Design, we follow the aroma of wine to JM Cellars where we meet founders, Peggy & John Bigelow. This Woodinville winery is more than just fine wine. It’s a haven for new ideas, passion projects, and community. Learn how the Bigelow’s transformed old dairy farmland into the ultimate Pacific Northwest gathering place.

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Behind the scenes

EPISODE’S LOCATION

JM Cellars

VALUES

With community, family and friendship in mind, John & Peggy Bigelow’s vision for their boutique winery was to create a space that embodied these values while upholding the wishes of the land’s previous owners and preserving historic Woodinville farmland. The result was Bramble Bump, a 7-acre, organically gardened, intimate, warm and quintessentially northwest treasure.

THE WINES

Originally produced onsite at Bramble Bump, JM Cellars’ winemaking program remains focused on creating handcrafted, limited release wines. With fruit sourced from premier vineyards throughout the state, JM’s portfolio of new world wines draws inspiration from various wine regions around the world and utilizes old world winemaking techniques.

Shop JM Cellars Wines

THE VENUE

From wine-inspired events like blendings and tastings, corporate retreats including off-site meetings and team building events or the dreamiest, northwest wedding, Bramble Bump is the perfect canvas for all occasions.

Plan an Event with JM Cellars

THE CLUB

Wine tasting benefits, exclusive club discounts, private social club-only events & limited release wines are just a few of the perks of JM Cellars’ Wine Club. Celebrating community and wine exploration, we welcome you to join the JM Family!

Learn More

Speaker 1 (00:00):

When we were building this Peggy and I had gone to Europe and, and had a chance to go through France and Italy and see some incredible wineries and the common denominator of all these great wineries was really cool doors. So we had this guy called the tin man. Yep. What’s his

Speaker 2 (00:18):

Name? Doug. Doug French,

Speaker 1 (00:19):

Doug French.

Speaker 2 (00:20):

And I think he’s retired now. These

Speaker 3 (00:22):

Are giant doors.

Speaker 2 (00:23):

Yeah.

Speaker 1 (00:24):

Yeah. Very large copper doors. Um, when he made them, you know, it’s, it’s a 10 foot high, 10 foot wide space. So it was, uh, two 10 by five, uh, doors that he created. They weigh 600 pounds each. He, they were so big. He wasn’t even sure they’d stay up. So we had to hang him first to make sure that they stayed up and they were shiny, bright copper. Um, he took ’em back down, put ’em on, saw horses. He had acid spray and sprayed on the doors and then had blow torches and was blow torching it for two days. And he pulled out all this turquoise patina in the door, which is really cool. But what he didn’t realize was that I was gonna be fermenting grapes in this front room. And when you ferment, you actually blow off CO2 and the CO2 is full of acid. And so all of this purple patina that kind of weaves into the door, uh, came from our fermentations. And so when he came out to visit, he was like, how did you do that? I really want to, eh, you just gotta start a winery, Doug. That’s all they have become a moniker for us, for sure. But enough on the doors. Right? <laugh> that’s cool. Head

Speaker 4 (01:37):

On in

Speaker 3 (01:41):

I’m Gina Colucci with the Seattle design center every week on inspired design, we sit down with an iconic creator in a space that inspires them this week on inspired design, Peggy and John Bigelow of JM sellers, along with their dog, Billy take us through their beautiful winery and estate in Woodenville.

Speaker 2 (02:00):

Hi, I’m Peggy Bigelow and I am owner and president of JM sellers. We have two retail outlets and a production facility, one in Woodenville and one in Malley,

Speaker 1 (02:12):

Washington, I’m John Bigelow and I’m the, uh, winemaker and owner. And I report to Peggy and have for 32 years. <laugh>

Speaker 3 (02:20):

Peggy and John have owned and operated JM sellers together for 19 years. Ever since John a former software executive decided to take the leap and pursue his passion for wine making together. John and Peggy grew JM sellers into one of the most respected wineries in Washington. The quality of their wine and the beauty of their property can most certainly be attributed to the loving and intentional way. They run their business, their 10 air business. They’re attentive to every detail on their property, which host weddings, wine club events, and weekend tastings. You pull up these beautiful iron gates and you come up the, the skinny driveway and you park, and you’re kind of in this like Pacific Northwest Oasis.

Speaker 1 (03:08):

Well, there’s a, a really incredible history actually to this whole Woodenville valley. And, uh, it goes back to the early 19 hundreds when this was all one big dairy farm. It was 550 acres of dairy farm out here and where we’re standing right now, we have, um, all these incredible trees. These days, we’ve got 120 Japanese Maples. We’ve got over 400 rare conifers on the, the property. But back in the early 19 hundreds, this was all grassland. This was, uh, where the cows would come to graze. There was a big dairy farm down in the right where St. Michelle is below us, uh, was a dairy farm. And it was actually a compound that was built by the Stimson family and the Stimsons were a timber barren family. So they had harvested almost all of the Douglas fur that was in this valley. Um, and they built, uh, houses down there. And some of those homes still stand over at St. Michelle. This area was just for cows to grace. So for close to 70 years, cows were up here, composting this soil in, uh, getting ready for all these trees to be planted.

Speaker 2 (04:16):

And the people who owned this before we did, they were in their eighties when they needed to move to more assist, you know, assisted living. And it was the daughter of one of the owners of the dairy farm after the Stimsons no longer owned it. And so this was her seven acre piece of land that she, it was will to her. She and her husband built the home here.

Speaker 1 (04:40):

You gotta tell the name. So her name was Jan McBride, but she was married to MTY Smith. And I love name MTY Smith, MTY

Speaker 2 (04:48):

Smith. And they were great horticulturalists. The, his family had a, uh, a nursery in the Northeast. So they brought back seedlings from the Northeast and planted here. And what was originally supposed to be a dwarf garden when you bring it into the Northwest and it rains a lot, and you have fertile soil from cow manure, it became this massive garden, and it is, uh, it’s a private Arboretum it’s been registered. Um, we’re bring it. It is, we’re bringing it back to registry. So it’s a, uh, truly registered private arboreum,

Speaker 1 (05:26):

It’s been amazing. So when we first saw this, uh, it didn’t look like it does today with, um, you know, all of our Japanese Maples and conifers right now are, are well taken care of. And, uh, when we first walked up here, it was very overgrown. Um, but you could tell that there was something special here.

Speaker 2 (05:46):

Oh, diamond in the

Speaker 1 (05:47):

Rock and then the house. Yeah, it was built in 1972. And if you imagine the Brady bunch running out onto the deck, that’s about the way the house looks, but it’s really beautiful and it fits the setting. And when we bought it, Peggy decided that we would not tear it down and build some strange Chateau, which we couldn’t have afforded to do anyway. But,

Speaker 2 (06:10):

Uh, thank God we had no

Speaker 1 (06:11):

Money. Yeah. But you know, we’re in Washington state with all these trees. And so she, she painted it very dark, um, gray. Do you call that dark gray?

Speaker 2 (06:20):

We call it dark black coffee

Speaker 1 (06:22):

Actually. Yeah. Okay. Dark black coffee. And, and it’s really, I think it just fits right in with the coffee

Speaker 2 (06:27):

Looks good with green. There’s a lot of green around,

Speaker 3 (06:29):

There’s so much lush greenery at jam sellers that I wondered how the property got its name. The Bramble bump.

Speaker 2 (06:37):

When we first arrived, there truly were Blackberry brambles covering so many Japanese Maples. They were just coming up this, this hill, this bump, and we had three little children. There was a watering system that wasn’t automated. So dragging hoses around to keep things alive was frightening for me. I was like, I don’t think I can. Thank God. Things were very mature.

Speaker 1 (07:05):

You don’t want to get into any more of the infrastructure here

Speaker 2 (07:08):

That we had

Speaker 3 (07:10):

That talk about a workout. Exactly.

Speaker 2 (07:11):

We figured out it was survival of the fittest. Yeah. We would do what we could and just let mother nature take its course. And so far, it’s, it’s worked out beautifully.

Speaker 1 (07:21):

Why don’t we do the outside first? Okay. And then we’ll go into the winery and the house and I’ll show you, but, uh, let’s go on down the walking path here. So, uh, this is a seven acre piece of property and, uh, uh, the top three acres are planted as the arboreum. Let me see

Speaker 3 (07:37):

A cute little walking path

Speaker 1 (07:39):

Side. Yeah. We’re going down the walking path. Now imagine a bride coming down here in her, uh, bridal gown. And that’s a good idea. This is where most of the brides get married in the summers outside, down here. Uh, when we started the winery, we had no idea that weddings were gonna be a part of our business plan. And about, uh, 10 years ago, we had a nice couple Janine and Brian ask us, could they get married here? And they really liked the way it looked. And, and we said, well, yeah, okay. And they said, well, you know, how much is that gonna be? And we said, we have no idea. <laugh> we

Speaker 3 (08:15):

Never, in 2022 weddings and events take up a lot of what they do now, as we walked, John told us about his business philosophy.

Speaker 1 (08:23):

You know, one of the things that I, I think was important, we knew that there really were three major elements to being successful in this. Um, one was environment and two was service and three was great wine. Uh, and now we have a fourth because we started a brewery last year. So great beer too. <laugh> when we found this environment, we knew we had something special and we really wanted to bring world class people in to work it. So we have a master gardener who works this every week and really manages this

Speaker 2 (08:59):

On the way out much. Yeah. That was

Speaker 3 (09:00):

Marriage Bush is when I got here. So exactly doing her job.

Speaker 1 (09:03):

And, and then, um, you know, over time we’ve been able to really evolve this into something that I think when people come and taste or they come to an event here, the feedback we get is there’s nothing like this anywhere. And I, I really app and I, I think they’re saying it in a good way. Uh, but now it’s, it’s really turned out to be amazing.

Speaker 2 (09:24):

We’ve tried to just be ourselves and not be something that, you know, it’s just authentic to this area. We were raised with really hospitable families, amazing cooks and always an open seat at the dinner table. And so that is natural for both John and me.

Speaker 1 (09:48):

I think I love hearing you explain that. No, because I, I, I actually, haven’t heard you say that before and have thought it, that was, that was really great. Cause you know, uh, so many small businesses talk about creating a family atmosphere and, and there’s a reason for that. I mean, when you’re a family you’re willing to do a little extra to, you know, make it just that much better for everybody else. And I think that’s really what Peggy has put in place with as president of the company. She has done things in that leadership role that I just think are natural to her authentic, as you said, and you are a true guide for all of us on what things should look like, how things should be when she comes out. I can tell you, uh, the whole team starts going around and making sure that every plant that is on any table, there’s no dead flowers. You

Speaker 2 (10:47):

Know, I don’t like dead flowers. I like this

Speaker 1 (10:49):

Is very meticulous about the really important things. And, you know, I think that’s one of the things that we’ve found with, uh, 25 years of doing this, that you’ve gotta do the big things. Right. But if you really want to give a great experience to somebody, you gotta do the little things right. As well. And, and you’re really on top of

Speaker 2 (11:10):

That. We just want people to have a good time. Yeah. And feel comfortable and at home here. And because it is a home, I think that that just is the way it rolls. They just walk in and they’re, oh, I don’t feel nervous. I’m at a winery and I’m not nervous.

Speaker 1 (11:25):

Right. I mean, that’s a big thing. This

Speaker 3 (11:27):

Isn’t something that crossed my mind at all. And

Speaker 1 (11:30):

It’s a, I always tell people when they’re tasting with me, if you like my wine, uh, yummy is my favorite descriptor. And if you don’t like it don’t tell me it’s very personal <laugh>. But I think it’s, it’s really true that, you know, we’re not into having to depict all of the different elements of the wine and we hardly ever get wine snobs in our, our, uh, midst. And when we do, I just pull ’em aside and take ’em on a tour and let everybody else have a good time. <laugh>, let’s go on down and I’ll show you a little bit more of the other part of the property. So, uh, as we’re heading down this way, there are a couple of trees on the property. I know we’re just focused way too much on trees, but there’s two trees here that I’ll show you. Uh, one is this tree right above us. And it’s a very tall 85 foot high it’s called sea coral crypto area. And it’s called sea coral crypto area. Because if you look at the end of the, the branches, you’ll see these clumpy things. And when they fall off, they look exactly like sea coral on the ground. This is the tallest sea coral crypto Marrit in the United States by over 20 feet,

Speaker 3 (12:44):

They loves it here. Yeah.

Speaker 1 (12:45):

They, they came out and measured and put us in the book and, and then this tree snapped right next to it and fell. And it fell right towards we, this is a warehouse that we keep all of our wine for the weekends. And, and instead of hitting the warehouse, it caught the very top of this tree. That’s called a Trident maple. And that happens to be the largest Trident maple in the United States as well. You remember all that, uh, that cow manure and the soils, well, these trees love these soils. So happy trees, very happy trees.

Speaker 3 (13:19):

You said Trident maple. And when you look at it, I’ve never seen bark really grow like that. Yeah. In little pieces, it almost does look like something out of the sea. You

Speaker 1 (13:29):

Know, Gina, you can go around this property and just, you know, focus on the different bark structures of these trees. And it’s really an incredible tour, same thing with the Japanese Maples. If you go around and you look at the different leaf structures of all these different, they’re called ARS, Japanese Maples, they’re so different. It’s really kind of fun. Who would, who would I ever guess that trees would be this big a part of my life? <laugh>

Speaker 3 (13:55):

If you wanna see exactly what we’re talking about, head to the Seattle design center website on the inspired design podcast page, and you’ll get behind the scenes images and be able to see all the little details that we cover.

Speaker 1 (14:08):

So we’re come on, Billy.

Speaker 1 (14:14):

All right. So this little trail system is open to the public when we’re, uh, open during the weekends. And it was kind of what you were saying earlier about we’re we’re in a city, we’re in the city of Woodenville, but we’re now out in nature. We’re going for a nature. Watch down past all these trees. You don’t hear the road instead, you hear a stream and, and a bunch of birds, and it’s so peaceful. And you asked me earlier where some of my secret spots are here on the property. Well, this is one of them. I’ll come down here when I just want to chill out and not have to do anything, but think about nature. And you can sit up in that chair on the side. Um, there, there’s all kinds of little secret spots in this property.

Speaker 1 (15:07):

So this, this is a great spot to actually see some of the Douglas firs that were here over a hundred years ago. So remember I told you that, uh, the Douglas firs were cleared out by the Stimson family. Well, they didn’t cut the ones that were on steep hillside so that the erosion factor would occur. And if you look up here, these are close to a hundred feet tall. Wow. And we’re right underneath them right now. Um, this is a, it’s a great way to kind of view this forest, but you don’t want to be here on a big windstorm <laugh> yeah. When we started the winery in 1998, uh, we, we started it in our house in Seattle and, uh, I built a little 15 by 15 foot room in the basement and, uh, started making wine. I made a Cabernet Sovan and a Merlo that year and didn’t end up selling. Those gave those away. Our first official vintage was 1999

Speaker 3 (16:16):

Here, a little stream

Speaker 1 (16:18):

That we have on the property. There are three natural Springs, two at the head of the property. And then one there’s an old pumphouse down here that’s, um, seen better days, but this was the pumphouse that they used to source all the water from. And it basically has a spring behind it and they just put a PVC pipe in, and that was the water that they drank and it was clean and clear. And we’re not on that anymore, obviously, but, um, you can see too, as we’re coming down here, there are some really unique plants. So we’re now out in basically a wetlands. So what,

Speaker 3 (16:54):

I’ve never seen a leaf so large.

Speaker 1 (16:56):

Yeah. This is called skunk cabbage.

Speaker 3 (16:59):

And for reference skunk, the skunk cabbage leaves were waist high on me. And I’m an average height woman. They started skinnier at the bottom and then as they got taller, they got whiter, whiter than my head.

Speaker 1 (17:12):

Skunk cabbage is prehistoric it’s. Um, uh, you know, the, I’m sure the dinosaurs love to eat this. The, uh, you can see how big the statement is on this thing. I mean, it’s just gigantic, but I’ve never seen this big. Yeah. Well and feel, feel the, uh, leaf it’s like leather. Oh,

Speaker 3 (17:32):

Wow. It does feel like leather and it’s

Speaker 1 (17:35):

Cabbage because, uh, it doesn’t smell skunky right now when it bloomed. It was stinky. So this little pond down here was created in 1955. So we’re standing in front of a pond that’s, uh, behind a small dam on this property. Uh, the dam was built basically to create a water source for the 550 acre dairy farm. Uh, and that’s what was used for years and years. Uh, and now it’s really just, uh, a dam and, and a nice pond. And we’ve got some seating down here. Yeah. And this is a great spot for people to come down. You can see too, as we’re walking along all the different ferns that are on this property, um, you know, this is a good example of what we were talking about earlier that even if you just did a little Fern exploration here, you’d find like 12 different kinds of ferns.

Speaker 3 (18:32):

As we walk, I noticed all different species of trees and bushes.

Speaker 1 (18:37):

Um, this is all horse tail

Speaker 3 (18:39):

And the different colors and textures of greenery.

Speaker 1 (18:42):

You know, most of these trees are 60 to 70 year old trees now. And so it’s a really mature Arboretum. I always joke with people when they come out for the tastings, I’ll say, you know, we have 120 Japanese Maples, 400 rare conifers and no grapes here. <laugh> and they’re like, where are all the grapes? And I always tell ’em the grapes are two and a half to five hours from here. Yeah. So everything we grow is over in, uh, Southeast Washington,

Speaker 3 (19:10):

We continue our tour and I noticed a Hawk circling above us.

Speaker 1 (19:16):

It’s pretty, pretty awesome. They’ll they’ll actually follow me. Uh, they’re kind of like, like Billy, our dog, you know, they’ll follow me around while I’m working and they just circle up. There’s lots of Eagles. Uh, the ducks just, uh, came in and they’re having their ducklings now. And we’ve got incredible hummingbird that are everywhere. I love those.

Speaker 3 (19:41):

So you can plant, watch bird, watch. Yep. Wine watch. <laugh>,

Speaker 1 (19:47):

It’s really fun to have an environment like this, where people can walk around with their glass of wine and really explore things that maybe they haven’t seen before. When we, uh, when we first bought the property in the year 2000, um, my mom and dad were living down on lake union in a little condo and they really wanted a dog and the condo wouldn’t let, ’em have a dog. So Peggy. And I said, well, why don’t you move into the upstairs of the house? We’re just gonna use the bottom half. And so they did. And they were here for my mom’s last 12 years and my dad’s last 16. And it was really one of the best parts of this whole thing.

Speaker 5 (20:32):

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Speaker 3 (21:02):

We finally made a full circle around the property, and I couldn’t wait to see the interior of jam sellers.

Speaker 1 (21:09):

This was our original tasting room. We just had a table in here when we first opened for tasting and people would come in, you know, when you’re just start, you don’t think many people are gonna show up. People kept showing up. We, we were so surprised we had

Speaker 6 (21:23):

One table and they were jammed

Speaker 1 (21:25):

In here, just jammed in here.

Speaker 6 (21:26):

So we just kept little by little.

Speaker 1 (21:28):

So that was another reason to build the winery on the side and move all the production out so we could make this whole thing, be the tasting room. And I’ll take you out there and show you.

Speaker 3 (21:39):

So now we’re walking quickly back outside, but now to the extension,

Speaker 1 (21:44):

The house is actually built into the Burma of the hill. So the upper level has an access at that level in the back. Uh, and the, uh, side of the house was just earth. So we dug the earth out on the side and the back of the house and created the winery. And it’s where I made my wine for 12 years. Uh, I loved it. It was, I got to develop it from scratch. So it had everything that I wanted drain wise, refrigeration wise. Um, we made it at that point about 3000 cases of wine a year. So this is a really good size for that. We make about 8,000 cases now. And so this was not gonna work in the, the long term, but, uh, it was really a great way to start. And one of the things that we always joke about is when we were building this Peggy and I had gone to Europe and, and had a chance to go through France and Italy and see some incredible wineries and the common denominator of all these great wineries was really cool doors. So we had this guy called the tin man. Yep. What’s his

Speaker 3 (22:50):

Name? Doug French.

Speaker 1 (22:51):

Doug French. And I

Speaker 3 (22:52):

Think he’s retired now. These are giant doors. Yeah.

Speaker 1 (22:55):

Yeah. Very large copper doors. Um, when he made them, you know, it’s, it’s a 10 foot high, 10 foot wide space. So it was, uh, two 10 by five, uh, doors that he created. They weigh 600 pounds each. He, they were so big. He wasn’t even sure they’d stay up. So we had to hang him first to make sure that they stayed up and they were shiny, bright copper. Um, he took ’em back down, put ’em on, saw horses. He had acid spray and sprayed on the doors and then had blow torches and was blow torching it for two days. And he pulled out all this turquoise patina in the door, which is really cool. But what he didn’t realize was that I was gonna be fermenting grapes in this front room. And when you ferment, you actually blow off CO2 and the CO2 is full of acid. And so all of this purple patina that kind of weaves into the door, uh, came from our fermentations. And so when he came out to visit, he was like, how did you do that? I really want to, eh, you just gotta start a winery, Doug. That’s all. Cause

Speaker 3 (24:03):

It does add another level of depth to the doors of, and if you imagine not having these extra spots, they would still be beautiful. But knowing that even the wine touched the doors is a really cool aspect to it.

Speaker 1 (24:20):

They have become a moniker for us, for sure. Uh, I mean, if you look at our website, they’re all over in that, but enough on the doors, right. <laugh> let’s cool. Cut.

Speaker 3 (24:28):

On in, at this point we walked through the tasting room and into what is now the barrel room. This is where they used to store all the wine, but they’ve transformed it into a beautiful event space.

Speaker 1 (24:39):

I had one point about 200 barrels in here. Wow. Uh, which was great. But then when we started doing the weddings, uh, the brides were asking me to move the barrels all over for each wedding <laugh> and I was like, okay, I think it’s time to look for another space to make my wine. Absolutely.

Speaker 3 (24:56):

It’s not, no, we’re still gonna have the weddings. We’re just gonna move the wine. Yeah,

Speaker 2 (24:59):

Exactly. So we left a wine wall, so that, I mean a barrel wall so that they could pretend they’re in a

Speaker 3 (25:05):

Room. Are these barrels still in use? Is there still wine in them?

Speaker 1 (25:09):

No. No. Nope. They’re empty. They’re just blanks.

Speaker 2 (25:10):

You would smell it. We missed the smell. Yeah.

Speaker 1 (25:13):

Yeah. It was pretty awesome to be walking through here and, and smelly, but you know, it, it, you can go to Maltbie and see a really beautiful barrel room that we’ve created out there. We got to build a whole new winery out there and uh, it’s been really fun. It’s seven miles from Woodenville. So it’s really easy to get to. And we’ve got a tasting room there, a beautiful tasting room that again, Peggy created. Yep. Um, she designed it and it’s, she, she did shiplap in it. And I remember saying to her, it was, I called her up and I go, Hey, are, are we doing shiplap in here? And she goes, yes, we are. And I said, I don’t know, hun. I mean, that seems, and she said, trust me. And so it showed up and it was just the natural wood, uh, shiplap. And they put it up, which is gorgeous by it is gorgeous by the way they put it up. And I said, Peggy, you’re right. It looks great. It looks like we’re in, um, a beautiful, you know, outdoor, you know, out in the west kind of place a, a hunting lodge or something. And I said, you’re not gonna paint the ship lap. Are you? And she goes, yep. We’re painting it. White. Sorry. You can’t, you can’t paint it white. It looks so good. And she goes, trust me, it

Speaker 2 (26:25):

I mean, we have a cottage that has always had white shiplap and it’s just,

Speaker 1 (26:32):

And she was one of those things. It looks beautiful. You did a great job on it. Thank you. I tell people this all the time, but if it tastes good here at JM sellers, it’s me. If it’s good taste, it’s Peggy. She, uh, she has an incredible ability to look at colors and, and just make things work to the best that they can possibly work. It’s it’s awesome. And then that, uh, room in the back is a private wine library, uh, stocked with wines back there. And that’s actually concrete right up against the earth. So we’re standing what would’ve been about 12 feet below earth right now. So the temperature in here stays cool. Um, pretty much all through the year. In fact, that’s why we’ve got heaters in here. Uh, so we can, we can make sure everybody’s comfortable. Can

Speaker 3 (27:18):

I step back there? Does it, does the temperature drop? Cause I noticed it as we walked back.

Speaker 2 (27:23):

Yeah.

Speaker 7 (27:24):

I think you’ll see it in here too.

Speaker 8 (27:27):

And so that kind of acts as a natural wine cooler

Speaker 1 (27:31):

Mm-hmm <affirmative> it does.

Speaker 3 (27:32):

From there, we head out through two beautiful double doors onto the back patio. There’s a fire pit. And John told me this is where they used to come and stomp grapes,

Speaker 2 (27:42):

The fruit, he would dump the fruit into this crusher destemmer right here. So up, he was up at the upper level. Okay. He would put it on the forklift, flip over the bin and then they would sort, you have to tell exactly, but this was where

Speaker 1 (27:58):

It was super slow, but really fun. And you know, we’d have people out here volunteering to, to help out with the sorting. It, it was just a really great community kind of thing. But, um,

Speaker 2 (28:09):

Out in the elements though, I mean, it would be raining and you would be out here. So what

Speaker 3 (28:12):

Time of the year would you do

Speaker 1 (28:13):

That?

Speaker 2 (28:13):

October? That’s

Speaker 1 (28:15):

September, October. It that’s. So we had tents, the grapes we’d put up tents and you know, the biggest problem I had was this tree that’s right above us is a big leaf maple. And the leaves are about eight inches across, uh, when they’re in full bloom and uh, in October that’s when they start falling. So the first thing we’d have to do before we started making wine was shovel. These big leaves off of airs. <laugh>, it’s kind of nice to be in the new spot and not have

Speaker 2 (28:44):

It’s a, a little easier,

Speaker 3 (28:45):

I was curious if John still used the old world technique of grape stomping. I

Speaker 1 (28:49):

Always tell people that I I’m, I new world wine maker using old world techniques. I I’ve really found over the years that, you know, we talked about great experience, great service and great wine. Well, the greatest wines I’ve tasted, uh, in our travels through Europe. And, and we’ve been to South Africa are the, the places that take a little bit more time and experiment and figure out what really worked in the old days. And so this is all to build up to. I foot stomp all of my reds. I, um, use clay am forests to age and, and sometimes ferment, um, some of ’em I reds, and those are all things that are old world that I think add, uh, just another level of excitement in the wine. Uh, and I that’s what I want to do. I, I, you know, I, every year I started making wine in 1998 using a recipe and, uh, UC Davis, I took, uh, the extension courses from UC Davis.

Speaker 1 (29:52):

So there’s a specific way that they teach you academically to make wine. And I did that for five years and I thought the wines were good, but it’s kind of like cooking where you, after you make a recipe, a number of times you think to yourself, you know, maybe a little AEG would be good here and you start adding that in. And by about the 10th time you do it, it’s your own recipe. And people want that. Well, that’s kind of how my wine making evolved. And, um, I’m now 25 years 20, this will be my 26th harvest coming up. Um, but that’s also the interesting thing is we only have one time of the year to do this right. September and October. Yeah, exactly. So I always joke with people that, you know, I’ve done this 25 times. So if I ever thought I was an expert at this, I’m crazy. I’m learning every year and there’s nothing in my life that I’ve done 25 times that I think I’m, I’ve done. I’ve got it efficient. <laugh> yeah. So I, I just, I listen and I try and take in what other people are doing that I like, I try it. And if it’s good, it goes in the glass. If it’s not good, you’ll never taste it

Speaker 3 (30:58):

By this point, knew John and Peggy were creative people. And I wanted to know what they were up to next.

Speaker 1 (31:04):

I am making port right now. So I’ve, I’ve got a, uh, I started a port program three years ago and I’m making a tiny port. So the first vintage of that port, it won’t be a vintage it’s you build on it every year. So each year I make an add to the previous year’s port and it won’t release for another 17 years. So I’m, uh, I’m figuring that Tommy is gonna be the one who needs to, you know, take it for the next 17. Yeah.

Speaker 2 (31:32):

Talk about a commitment. <laugh> yeah. It’s a, it’s generational in the old country. That’s a new thing for this area. What made you want to do that?

Speaker 1 (31:42):

<laugh> you know, the fact that we

Speaker 2 (31:44):

Went to Portugal. Yeah. We fell in love. Right?

Speaker 1 (31:48):

Well, I fell in love with you way before that. No, I mean, we filling. Okay. Okay. With,

Speaker 2 (31:53):

With port,

Speaker 1 (31:55):

It was, it was, uh, you know, that’s kind of how I’ve evolved. Different wines that we make is we’ll have a great trip somewhere. We get a chance to talk with the winemakers and we see behind the scenes what they’re doing. And that’s when I do the experimenting that I was talking about and coming back from Portugal, I just thought, I wonder if I could find Portuguese grapes in Eastern Washington. And I found this really great little vineyard called lonesome Springs ranch. And they had, uh, Toga national Suza and tink, three of the primary Portuguese grapes. And they were older vine. They were planted in 1994. And so I pick those each year and I bring it in and I make my own Brandy with, um, JP trodden. Who’s in the Maltby facility that we’ve got and they make incredible bourbon. I mean, some of the best bourbon I’ve ever tasted.

Speaker 1 (32:44):

And, uh, so they allow me to bring nine barrels of wine, red wine over in the summer. And we fill there still, and we distill it down to first run 120 proof and Brandy, and it it’s raw Brandy, so it doesn’t have any color. And really it, it does have a flavor, but, uh, it it’s kinda like ever clear flavor <laugh> yeah, its and uh, and then you end up with this thing called ARA dente, which is what they Portuguese call it. And then I put it through a second still. So it ends up at between 160 and 180 proof. And you add that to the fermenting red wine and that’s how you make port

Speaker 3 (33:25):

Jam sellers practically glows with love John and Peggy pour into the space. Their Karen devotion extends far past the wine to the land, their family, their employees, and their legacy. What role does passion play for you and what would you like to leave as a lasting memory or lasting feeling for

Speaker 1 (33:49):

Kids? Yeah, I mean, honestly I think for us, um, our boys, young men have turned out to be just great human beings and I don’t think there’s anything more I could leave this world that would be better.

Speaker 2 (34:05):

Yeah. I do want to provide a positive environment and I sh and to offer guidance and personal and professional growth for some of our employees, it has been something that I came, it came late to me. Um, I was a stay-at-home mom for a lot of years and didn’t know that I could do what I do. I just didn’t know. And as I found, uh, I have a really wonderful friend who we were just talking about some issue years ago and she goes, you guys, we’re smart people. We can figure this out. And so I think that often and try and convey that to all of these wonderful kind, thoughtful, smart people around me and just help them gain confidence and sure. Footing in this world.

Speaker 1 (35:03):

And I think with the winery where I see it going in the future is we’re not getting bigger. Uh I’ve you know, we, we’ve been making seven to 8,000 cases of wine now for the last six years and I could easily get bigger. Uh, I get opportunities every year for new fruit, uh, some of the best fruit in the state. And I have to turn it down because in order to do these passion projects and I love that you call ’em that, uh, you, you can’t be in distribution. You can’t be in the rat race of the wine world where you’re just trying to get stuff into, you know, the stores and into restaurants. We sell 98% of our wine through our wine club and through being open on the weekends and our event business. So, um, that’s a real luxury because it gives me the chance to decide, I wanna buy clay M for us from Italy and ferment ganache in there.

Speaker 1 (35:59):

Like I saw in Spain when we were there. Um, I can do that. And you know, it’s a small lot and it’s super special. And the wine club gets to enjoy that with us. And, uh, I, my body, uh, concrete egg last year. And, uh, it’s so funny because, you know, there was a big push about probably 10 years ago, uh, in the industry for people to go back to concrete and all these concrete eggs were coming out and it was like everybody was doing it. And I thought, I just don’t want to do the same thing everybody’s doing. And, but then I kept tasting these wines and going well, that’s pretty good. And so I finally said last year, okay, I’m gonna break down and get a concrete egg. And I did, and I was gonna put Sauvignon Blanc in it, but I ended up tasting at Maryvale down in Napa valley, the winemaker there said, have you ever tasted Chardonnay in a concrete egg? And I said, no. And I tasted. And I said, okay, you changed my program. I’m going Chardonnay. So I’m just about to bottle my first concrete Chardonnay. And it’s really delicious. So those are the kinds of things I can do because we’re staying small and well.

Speaker 2 (37:09):

And the other advantage to stay in small is that we, we really get to know the end user. And that is what we like. That’s how we want to be conducting our business.

Speaker 3 (37:22):

John and Peggy have a robust wine club and are committed to philanthropy.

Speaker 1 (37:27):

We get asked a lot to donate and it’s a privilege. I mean, what an incredible thing to have a product that people want to use to raise money mm-hmm <affirmative> to support what is so important in their community. And for us, we, we kind of looked at each other and said, you know what? We need to turn this into a way to have JM sellers give to communities. We wouldn’t even know about the mitochondrial research Guild out of children’s hospital is our big contribution. And we’ve been working with them. This will be our 20th year. Wow. Yeah. It’s hard to believe. And they, they are just an incredible group of people who have supported research in children’s hospital on mitochondrial disease, and they are solving problems. I mean, I’m seeing children through that 20 years that were before this group diagnosed as not living into their teenage years and they’re graduating from college and going on and working. And it’s just so, so humbling. It’s really awesome.

Speaker 3 (38:33):

A big thank you to Peggy and John Biglow for their generous tour of the beautiful space inspired design is brought to you by the Seattle design center. The show is produced by large media. You can find them@larjmedia.com special thanks to mechi Suzuki, Lisa Willis and Kimmy design for bringing this podcast to life for more head to Seattle design center.com, where you can subscribe to our newsletter and follow us on social media. Next time on inspired design. Jim Olson of Olson Konig takes us through his beautiful cabin in long branch.

Speaker 9 (39:15):

My whole philosophy of an architect is integrating life with nature.

Renee Erickson & Jeremy Price | Fabulously Funky

Renee Erickson & Jeremy Price | Fabulously Funky

In this episode of Inspired Design, we head to The Walrus and the Carpenter in Ballard to meet up with James Beard Award winning chef and author Renee Erickson, and her business partner, co-founder, and designer of Sea Creatures, Jeremy Price. This restaurant was their first joint endeavor over 12 years ago and gifts them with sentimental and insightful memories. We learn how they have honed their creative process to give guests the ultimate setting for a memorable meal.

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Behind the scenes

EPISODE’S LOCATION

The Walrus & Carpenter

Values

Intent on creating a fun, lively, and approachable oyster bar in their back yard — a neighborhood place where the very best in food and drink would be served in a cozy, welcoming setting — friends Renee Erickson, Jeremy Price, and Chad Dale began work on The Walrus and Carpenter in the winter of 2009.

The Barnacle

SEE MORE OF SEA CREATURES ESTABLISHMENTS

Sea Creatures

Sea Creatures is a family of restaurants, locally owned and operated by James Beard Foundation Award-winning chef Renee Erickson and partners.

SEE ALL OF THE PRICE ERICKSON PROJECTS

Price Erickson Interior Design

Price Erickson is an established interior design firm with over 15 years experience in residential and commercial interior design. Price Erickson is pleased to offer interior design and project management services to select clients.

Principals: Jeremy Price, Renee Erickson

Inquiries: info@priceerickson.com

RENEE ERICKSON’S BOOKS

Renee’s newest book – Getaway: food & drinks to transport you

Renee’s Books

Episode Transcript

Speaker 1 (00:00): 

So I love being in restaurants. I love going to restaurants. I love cooking, but I think even more so I love restaurants. 

Speaker 2 (00:09): 

I’m Gina Colucci with the Seattle design center every week on inspired design, we sit down with an iconic creator in a space that inspires them this week. We sit down with chef author and restaurant tour, Renee Erickson and her longtime business partner and interior design specialist, Jeremy Price. Hello. 

Speaker 3 (00:29): 

Hi, welcome. Thank 

Speaker 2 (00:30): 

You. I’m Gina, Gina 

Speaker 4 (00:31): 

And Jeremy. 

Speaker 2 (00:32): 

Nice to meet you 

Speaker 1 (00:33): 

Renee. Nice to meet you. 

Speaker 2 (00:35): 

Renee and Jeremy met years ago when Renee was looking to bring spirits into her first restaurant boat street cafe and hired Jeremy and his dad to renovate the bar. You may remember boat street cafe originally located the very bottom of queen and hill kind of across from this martini bar called teeny bigs, which is gone now, but maybe that gives you a good reference. It was quintessential Renee at first, a little unassuming, but then you entered into this Oasis and it was so cute and decorated. It just popped. Renee now owns 13 unique restaurant spaces in Seattle, and we caught up with her and Jeremy in front of the iconic walrus and the carpenter. It’s their first joint endeavor founded in 2010. The restaurant is housed in a large brick structure. 

Speaker 4 (01:25): 

This is the Coltran building, uh, in Ballard here in Seattle. 

Speaker 2 (01:29): 

Uh, originally a Marine supply business over a century old 

Speaker 4 (01:32): 

We’re kind of in the front area, the building here where all the casting happened. And if we could get in these spaces over here, you’d see the old, like gantry where they would, um, you know, the crucible of like Moton metal would get poured in the form. So it was like very much like a working Marine space. Um, and originally when they reached out to Renee to kind of get us to come into the building to do a restaurant, they like imagined us taking all of it. Um, and yeah. <laugh> oh, you laugh about that. Yeah. I mean, it would’ve been like a 200 seat restaurant. It would’ve just been a crazy, uh, which is harder in Seattle, particularly like in a neighborhood like Ballard, which is a little quieter, but yeah, so, uh, what used to be the loading dock for that Marine castings? Um, space is now where Walton carpenter. So we just kind of took the tiny little back half. So if we head down this hallway, we’ll, we’ll find our way there. That’s 

Speaker 2 (02:17): 

Cool. Yeah. When you first walk through the door, you’re greeted by a long hallway that runs the length of the building about a half a block long. Yeah. And if 

Speaker 4 (02:26): 

We keep heading back, there’s these fun, uh, painted wood molds. So when we were talking about, um, this being a Marine casting, silly, they saved all the old wood parts and they’ve kind of made like a little decor wall ahead of us here. 

Speaker 2 (02:41): 

The building held nearly a century of history before becoming home to some of Seattle’s top restaurants, Renee and Jeremy took us through some of that history from the unusual architecture and mixed material walls to documents from the 1940s cold shoots and phone books and even bullet holes. 

Speaker 1 (02:59): 

Yeah. The space itself, when we first looked had like this cliff off the back, there was like a, like a where you could drive a truck up to 

Speaker 4 (03:07): 

Loading dock. So, so, 

Speaker 1 (03:08): 

And you going towards the Walworth and the yeah, yeah, yeah. And I remember the fir when they were taking the wall apart, they found like papers from like the forties, like talking about the war and everything that they had, like used as insulation or whatever. I don’t know, is this building’s nuts, like remember in the basement yeah. Where they had, like they had, there were these like coal shoots, I think, on the street, um, that they had filled with phone books, which I think is hysterical. Cuz do phone books exist anymore? Um, no. Right. I don’t think so, but they would shoot guns at this. And so it was all like just exploded with bullet holes everywhere and it like water on the floor. Like it was definitely not a place where you’re like, this seems like a great place for a restaurant, need 

Speaker 2 (03:50): 

A dime. If you wanna see exactly what we’re talking about. Head to the Seattle design center website on the inspired design podcast page, and you’ll get behind the scenes images and be able to see all the little details that we cover. I notice a lot of mixed materials throughout the hallway. You’ve got brick in the entryway and then some cement was this very different when you started the process, 

Speaker 4 (04:15): 

It was, it was all open. And so I think to, um, demise the space, they had to put this drywall in, which is like a burn wall. So it’s a fire thing. So we ended up with, um, you know, this drywall, but in other instances where we didn’t need the burn wall for fire safety, it’s just the exposed concrete or the original brick or what have you. But yeah, these are all, I mean, I couldn’t tell you what they all are for do, but these were all molds that were used for casting. It was kind 

Speaker 2 (04:41): 

Of fun. And you chose to keep these 

Speaker 4 (04:43): 

Just yeah. Yeah. I mean, we, it was really the, um, the building architect, which is Graham Baba that I think kind of really saw what an opportunity, all these cool little things were to be the core. Yeah. 

Speaker 2 (04:54): 

We came to a landing between Walworth and the carpenter and 

Speaker 4 (04:57): 

Barnacle and we’re standing on, um, card decking, uh, which used to have cement over it. Um, and that was roto hammered off to reveal the card decking, which is kind of a fun thing. So these are like, you know, floors that you could drive a car on, like, you know, properly thick, like wooden floors. I dunno. Just kind of a cool thing. And those, uh, carding extends into barnacle. You can kind of see it. And we used to have that in walrus for like maybe the first three or four years. Um, but because of the restaurant being so busy, the Gus between the boards started to really open up and like women wearing heels would get stuck and stuff. And so like, we were like out the water. Yeah. Oyster 

Speaker 1 (05:33): 

Made. 

Speaker 4 (05:33): 

Yeah, it was really cool cuz underneath us is, um, some mechanical spaces and storage spaces, uh, for the restaurants. And so like the light from those spaces would shine through the floor, the old wood floor. And it was, it was cool. But unfortunately, yeah, it was a safety thing and a sanitary thing where we had to tile over the decking and, and walrus. 

Speaker 2 (05:50): 

Anyway, as we head into the restaurant, Renee tells us about her original inspiration to open a little oyster bar in the back of the building. 

Speaker 1 (05:57): 

I used to have boat street cafe and Chad Dale, our, our other partner, um, started coming to boat street. He was very persistent and, and pestering to get me interested in, into a space. And fortunately like Jeremy and I worked together as well. And um, he had at one point mention like if I were to ever do anything else that he would wanna partner with us. So, or with me. And so that kind of happened. But as we were looking at this space, I remember walking in, I think off of Ballard, there was like a plywood door basically. And like, like I laughed in the front earlier. Like I laughed at the idea that like they’re envisioning this to be the kitchen for the restaurant over there. And, and, and I was just like a no way it’s enormous. And you know, if you know our spaces now you’ll know that like having a like south or Western facing experience is much more interesting to me than like this dark kind of cave, like experience of a restaurant, which is very common in Seattle, not for us. So I kind of jokingly said to Chad, um, like if you let us have the back kitchen and then give us a patio, I would do it. And I didn’t think anything. I just was like, whatever. I was very afraid also of anything. I had both street, which was 60 seats and it felt big. Obviously the idea of this was ridiculous, but I wanted something small, you know, that we could kind of get our hands around 12 years later, we’re still here, which is lovely. 

Speaker 2 (07:24): 

The space is simple, but it’s not boring. There’s a beautiful chandelier right in the middle. And then these two large mirrors on the far wall that really open the entire space up and the back of the restaurant opens up to the alleyway and it lets in some really pretty natural light, there’s even a window. On the other side that looks into the adjacent restaurant. The energy of the space creates a really nice community feel if you’ve ever been to walrus and the carpenter, the most iconic piece of the decor is that massive chandelier that I just mentioned. Renee tells us the story of how she stumbled upon it on a trip to LA. 

Speaker 1 (08:08): 

The chandelier was fun. I ended up in LA with, uh, Carrie mania who works with us. Who’s one of my best friends. And we were walking around silver lake and went to this antique store. That’s sadly, no longer there. But, um, we went in and went out in the back and we were looking for a light, but not, you know, that wasn’t our, that’s not why we were in LA. And uh, this was in the backyard of this antique store with grass growing up through it. And it was like, you know, kind of just left there. I remember thinking like, oh, it looks like it’s in, you know, underwater a little bit. And so I don’t know. I must have sent y’all a picture mm-hmm 

Speaker 4 (08:40): 

<affirmative> yeah. I think at one time I could have told you who we thought made it. We don’t know for sure, but we think it was an artist, uh, that was working in California who, um, who made Robert. Yeah. Did like a lot of this kind of sculptural sort of stuff in like the sixties, but I mean, to me it like coral, but it is little tubes of steel that are all kind of welded together in this. Like branchy like tangled sort of Brae. And it was probably originally bright white, but you know, it’s um, probably like 50, 60 years old now. And so like what was white is now kind of, you know, gray and brown into like a, a wonderful, like kind of patina and some of the rust is kind of coming through, um, that original navel. So just is a cool kind of like, yeah, I don’t know. It’s um, I haven’t seen really anything like it anywhere, so that feels kind of fun to yeah. Hear lot. 

Speaker 1 (09:27): 

Yeah. It was, I mean, for sure when we decided, well then of course, like when we, I went to finally like, go ask if it was, you know, available and someone like that day or the day before had put a deposit on it. So I was like, of course. And so I asked, I was like, well, how much time do they have? And so come the end of the month, the person that was gonna buy it, didn’t buy it. So they created it up and sent it to us and we got it, which was great. Um, but yeah, it showed up like kind of in this like, okay, crate. That was a little bit, I don’t know. He was probably happy to get rid of it, but <laugh> um, we, we ended up sticking it in the back of my, it must have been my brother’s truck and took it to the brown bear car wash to get it cleaned before we took it to get, um, rewired. Cuz it, I don’t even know if it had wiring. It might have had just cut wiring in it. But yeah, it’s the best. I love that thing. 

Speaker 2 (10:23): 

Walworth’s in the carpenter holds so many personal touches for both Renee and Jeremy commission drawings from her friend and former teacher, Jeffrey Mitchell. Yeah. 

Speaker 1 (10:31): 

He’s spectacular. I adore him. They’re also, I think just so whimsical and, and layered and lovely. 

Speaker 4 (10:38): 

He like will send you like, here’s some drafts. Here’s what I’m thinking. Here’s what I’m working on. He sends you the drafts and the drafts are like absolutely perfect. 

Speaker 2 (10:45): 

He’s like salvage doors from a community space. Her brother was working on, he 

Speaker 1 (10:48): 

Worked at, um, the city of Renton. There are five doors originally and they were the entrance to this big, like community space. And I mean, they’re insane, massive doors. And for whatever reason, they decided they needed new doors. 

Speaker 2 (11:01): 

The brick lane was done by her father at age 88. He still helps with brick lane to this day. 

Speaker 1 (11:08): 

I just made him license brick for me yesterday. 

Speaker 2 (11:11): 

Even the Offwhite walls are a specific color based on a patch of fur from Renee’s beloved dog Jeffrey 

Speaker 4 (11:18): 

When Renee was, um, painting the second boat street or maybe it was the first, but anyway, like wasn’t satisfied with like the colors that were available. Like she really wanted this like warm, like sort of rich white color, sort of that glowy candle. Lighty kind of like white color and just couldn’t like find anything she was satisfied with. And so she took Jeffrey, the dog into the paint store and like had it, had his fur matched. And we used, he had 

Speaker 1 (11:44): 

These patches on his shoulders that were this like golden white. Yeah. And so I was like, I want that white. Yeah. 

Speaker 4 (11:51): 

Yeah. And so all the restaurants where you see this white color, this creamy white color, it’s Jeffrey White and we’ve used it everywhere, I think, except for westward 

Speaker 2 (11:58): 

Between the building history, the funky chandelier and the salvage doors. The phrase that comes to mind is imperfect perfectness. 

Speaker 4 (12:07): 

We’re attracted to kind of materials and spaces that feel like a little lived in. Um, I think that those spaces for us feel a little bit more alive as a result. Y you know, I think it’s like when you’re at a restaurant in like a mall or an airport, that’s, you know, those spaces can feel a little antiseptic cuz there isn’t isn’t that. So it’s, and it, and it’s also like the, um, having like the ingredients on display, I think, and having like, you know, the people that are like making your food for you, like visible, like all those kinds of things add more and more layers of like interest and like kind of just make the space feel dynamic in a way that if everything was like perfectly clean, perfectly smooth, you know, all sorted and tucked away, it, I think it would lose some of that energy in some of that life. We always, like, we talk a lot about like, you know, what our grandparents feel comfortable in a place or like, can I bring my dad to that place? And, and this is definitely like one of those places that works that way where like people feel comfortable here. And I think it’s because of all those sorts of things. 

Speaker 1 (13:02): 

Yeah. I mean, walrus feels even now, um, 12 years on like really magical in that way. Like it has this space, you know, it was like perfectly timed, I think in Seattle to have, um, I think a restaurant that felt like this where you’re like, cramed in it’s super loud, you know, the focus is on oysters, which was really uncommon back then. Um, you know, like it’s a little bit like our space too, which I think is what makes it like, you’re kind of like visiting someone’s house versus like a restaurant that’s, um, all about the guest. I mean, we are that, but it’s also like you can’t help, but like being, you know, impacted by your neighbor and you know, the server’s gonna like squeeze in between, you know, to like get stuff. So it’s, you’re kind of pushed in your comfort zone a little bit being here too, which we love. And 

Speaker 2 (13:47): 

It reminded me a lot of little cafes in Europe where everybody eats right next to each other and you have to be 

Speaker 1 (13:54): 

Social. I mean, it’s the only restaurant of ours it’s like that. So I think it’s, you know, it’s, it’s great in that way. I certainly wasn’t planned. It was just like, okay, we’ve got 700 square feet or whatever it is like, yeah, let’s cram as much in here as we can. And you know, like we really wanted the bar and the oysters to be so present when you walked in. So that kind of drove how we, we built everything around that. Basically 

Speaker 4 (14:18): 

This space is really, I think, special to Renee and I both, because it was the first space we created together and it, um, I know she mentioned like her dad and her brother, like working together to lay the brick patio, um, and the whole space, like from Jeffrey, giving us the art or ever had that kind of like community sort of barn raising kind of vibe to it, like my dad and I built the bank cat and we built the, um, that wine cabinet there and we built the prep table that’s in the kitchen. Um, and so, and that we didn’t really get to do that for other restaurants cuz like by that point it’s like we had restaurants and we were like kind of too busy to like be making the things ourselves. And um, so this one is like a, you know, like a real hands on kind of laborer of love in a way that, uh, the other restaurants that we’ve done together didn’t necessarily have the, that same opportunity to be. 

Speaker 4 (15:06): 

Um, so that’s really cool. Yeah. I used to have like crazy, uh, like stress dreams about the banquette collapsing under people like sitting on it like more than once I had this dream where like this banquette that we built, like just broke, just crushed. Yeah. Going, going on 12 ish years. Now it still, yeah. Strong, still hasn’t fallen apart yet. Yeah. Anyway, it’s a really special restaurant and I, yeah, and too, like, um, when we opened this, um, you know, this is a point in our careers where I was the GM for like the first two and a half years. And would be your host like five days a week, like greet everyone at the door. And Renee was, you know, working a station, uh, like we were briefly open for brunch and she was like our brunch chef one way or another. We’ve worked in all the restaurants, but this is I think the restaurant where we also like, I mean, I really worked here for a while, you know, for like years. So, um, it’s got that kind of specialness to it too. Like there’s that kind of a different relationship than we have with some of the other restaurants. 

Speaker 5 (16:07): 

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Speaker 3 (16:39): 

Alright, 

Speaker 2 (16:39): 

So where are walking to 

Speaker 4 (16:40): 

Now? Yeah. So this is barnacle. Um, and this opened in October of 2013, 

Speaker 2 (16:48): 

Barnacle is a thin long bar you walk in and there’s probably seating for eight people. And the shelves behind the butcher block countertops are curved and have all types of spirits. There’s these pendants that hang from the ceiling that are very angular and architectural. And then along the wall on your right hand side, as you’re walking in, it’s just this giant window looking into a hallway. So you kind of feel like you’re in a fishbowl, but with really good cocktails 

Speaker 4 (17:29): 

Between it being a casting Marine castings place, uh, to it becoming barnacle, um, it had a brief kind of like stint as a bike shop. So this was like a bicycle repair area. Um, and it didn’t coffee and coffee. Yeah. And for whatever. Yeah, totally. Yeah. Always <laugh> um, and sadly it didn’t work out, um, with the bike shop, but when they moved out, um, we were able to, um, sign a lease for this kind of little space and it’s become its own. Um, you know, it like people are coming to go to Walmarts typically, but it’s really nice to have this. So like we can send them somewhere to wait where they’re not having to walk in the rain or the cold or the dark. And um, 

Speaker 2 (18:06): 

And it’s just like a little skip hop 

Speaker 4 (18:08): 

Job almost like yeah. Like five steps, but yeah. Um, and it’s, it is super small. It’s kind of, this is, this is it. It’s just one long bar and then a little table, um, the opening crew here kind of jokingly called that little table, the champagne room, but it’s, you know, it’s, it’s so called the champagne should, 

Speaker 6 (18:24): 

Should set the champagne room, take time 

Speaker 4 (18:27): 

Very important. Um, so yeah, just, it’s a really, really sweet little space. And this was, um, you know, I think Renee had had the thought for a while doing kind of like a AVO or a TV type of bar where it’s like a lot of like little can snacks, like fishy things, crackers sort of things that are, um, you know, a lot of times are prepared. Um, and, and we’re just, we were plaing them and serving them, um, and kind of pairing that with a, with what at the time was kind of an eccentric cocktail program that was really just like, based on these, amaros just all these fortified wines and now you see those things, uh, a lot more commonly, but, um, at that time it was kind of a, like a, a weird thing. And we’d have to have that conversation with the guests. Like what, why, why can’t tomorrow? Why can’t 

Speaker 1 (19:10): 

Lots of that? 

Speaker 4 (19:11): 

Why can’t I get a margarita? You know, that kind of a thing. It was like, well, we don’t really do that here, but you know, here’s something you might like instead. And you know, we, yeah, we were really excited to just go crazy with the tile. Um, I was gonna say 

Speaker 2 (19:21): 

Yourself had your time where, you know, you didn’t really the oyster bar thing. Wasn’t cool yet. Yeah. And the, you know, floor to ceiling tile and the craft cocktails. Yeah. Where, where did that inspiration stem from travel, 

Speaker 1 (19:35): 

Travel? All of it. Yeah. Entirely. I would say like every restaurant of ours is somehow connected to travel 

Speaker 2 (19:42): 

Base of it. In light of that, I asked how travel has influenced their projects or certain locations 

Speaker 4 (19:49): 

For both these spaces. Cuz there’s some of the smaller spaces we have. Um, there is a bar and the ma that I think we’ve both been to, but I don’t know if we’ve been there together. Mm. Um, and it’s kind of like fifties, sixties, and they just like left it that way, but it’s really small. And like it, it’s got this like complete clown car kind of like dynamic to it where like the kitchen is somehow like you get to it’s fresh of all. Is that uh, no, it’s not first of all. Um, yeah, I would have to look, but it’s like, they, they literally open cabinet doors, like under a counter and they’re stairs. Oh yeah, yeah, yeah. And then they’re like, you know, to go get your food. And so it is like those kinds of like, just like kooky sort of experiences. 

Speaker 4 (20:29): 

Like we, um, don’t have a ton of that on the west coast, cuz like everything is so new and a lot of times it’s purpose built, like, you know, just knock, knock down and build the, the right thing for the thing. And I don’t think you get as weird of experience. I mean, we also have like, I think kind of tougher codes around that kind of stuff, but like those things are just so special. Like I remember that and that was probably 10 years ago that I was there and I don’t remember really too much else about it. Other than that there was like stairs in a cabinet. I don’t know. I think we really love finding the little spaces that seem like improbable. Like they feel more special. Yeah. And you just see so much more of that in Europe than you do, you know, on the west coast of America. 

Speaker 1 (21:09): 

Yeah. And a lot of, it’s not, um, visually inspired, but like ly, like we end up like whales was, um, I had been spending a more time going to England and, and become, or London, not just mostly London and uh, just the, um, experience around vegetables there was, was becoming something that wasn’t happening here. At least not in Washington where there was, um, the O hotel Linga group that everyone now, you know, has heard of at the time was had I think just one location. And um, you know, there was this like bountiful plethora of, of food that you could, you know, see when you walked in and then it became part of your meal. And so when we opened whales, we that’s how we started was not only, and that, that plus the wood oven was this, um, you know, very vegetable focused and like the meas and plus all the food that was gonna become your meal was basically these like beautiful, you know, ZUS or silver trays or whatever that were in front of you as you walked in. So you could kind of be excited about what was to come. And so like, I think it’s like kind of combination of like visual inspirations and, and also just like weird experiences that you remember or hold onto and want to kind of somehow translate into something here. Yeah. 

Speaker 4 (22:22): 

Yeah. One thing that Renee talks a lot about, at least with, with opening wall risk, is that, um, kind of at that time, like I think she had recently been to nor Albany and to Paris, um, and just had the experience, um, in both locations of oysters being like really accessible and like not fancy, there’s a really sweet little oyster bar that I remember you showing me early on called, uh Wheatie REI mm-hmm <affirmative>, um, which is even smaller than barnacle, I think. Yeah, totally. Um, but it’s like, you know, at that time in Seattle, like to go get oysters, you had to go to a steakhouse or you had to go to like a 400 seat, like tourist restaurant, um, like on the waterfront and there wasn’t really anything in between. Um, and so I think it was like kind of that inspiration from traveling where you’re like, oh, like this doesn’t have to be like a quote unquote fancy food. 

Speaker 4 (23:08): 

You can like have this like delicious thing, which we grow so many of in the Northwest and you can put it in this, like, you know, in a really a bar essentially is what Walmart is, is way more bar than it is a restaurant, put it in that context. And, um, it becomes kind of a new thing and, and hopefully a more accessible thing where like people are having to leave their neighborhood or like, you know, have like, you know, a, a huge, like $50 steak to also like have oysters or whatever it is, you know? So, yeah, 

Speaker 1 (23:34): 

It’s true. Yeah. The, um, we regime was, or is, it’s still open, um, tiny and I still like maybe one day that Seattle would be ready, but, um, you had to buy oysters by the dozen each person. Nope. Like you couldn’t share <laugh> um, you, I know, right. I loved it. Um, there was only white wine or champagne. You could get like a shrimp terrain I think, and then like poached shrimp and it was ridiculous. And the whole place, like, I mean much like walrus, I would say, like, it felt like you were like in a room that like was entirely inspired off of the colors of an oyster shell. Super cool. 

Speaker 2 (24:13): 

It’s not only travel that influences Renee’s design choices, 

Speaker 1 (24:17): 

The back bar at barnacle. I think I was watching Willow Wonka, chaga factory. Yeah. And sent you, or sent you a text if you remember the candy store in Willy Wonka, it’s like, it’s the opposite. Well, it would be like this, you know, it’s like a U shape, but I was like, oh, I think that like kind of crazy candy, you know, mania for a bar would be really fun. So that’s why the, the style or the, you know, the design is sort of inspired off of that room and that it had this like intimacy and tininess and then kind of berserk as well where it’s just, everything’s everywhere 

Speaker 2 (24:50): 

When you get that with the Chandel or the pendants handing over the bar. 

Speaker 4 (24:55): 

Yeah. Those are, um, gel day pendants, um, which is like a, uh, a French sort of task lamp or task pendant from, I think the twenties. Um, these are like new versions of the, I think it’s been in continuous reproduction, like wars aside since the twenties. And these are kind of fun ones because each pendant has kind of two of these articulating, uh, arms, like they’re just like little apparatus, you know, like they’re just fun. And like they have, um, I think a sense of movement to ’em. I mean, obviously like they’re actually kind of like a pain in the butt to reposition and to move around, but just even static. I think that they’ve got kind of like a, I don’t know, a sculptural quality to ’em mm-hmm <affirmative> like, they’re, they’re kind of kinetic 

Speaker 2 (25:33): 

As we sat in the champagne room, Renee and Jeremy told us more about how they met and Renee’s unique opportunity to pivot from art studies to running a restaurant. 

Speaker 4 (25:44): 

Renee was looking to bring spirits to both street. Cause originally it was wine and beer. So she wanted a bar and she wanted to change some of the seeding to like banquette type seating. And um, so she hired me and my dad to do that work. And, um, after that I started working, um, at bore. Jeremy 

Speaker 1 (26:01): 

Is the best, best boy ever is what he 

Speaker 4 (26:04): 

Claims to do. Yeah. I mean, I’m now retired, but I was Seattle’s easily. Seattle’s best boy for best, best boy for about two and a half years. Love that. Yeah. No, 

Speaker 1 (26:12): 

I don’t 

Speaker 4 (26:13): 

Know us now. Retired. Yeah. Now retired. Yeah. 

Speaker 1 (26:14): 

You hung up your, uh, your clogs. Yeah. 

Speaker 4 (26:17): 

<laugh> um, so yeah, working at working at the restaurant, we got to be, I think friends, um, just through working together and kind of that, that connection. Yeah. 

Speaker 2 (26:25): 

And Renee, do you wanna tell me kind of your history, you were going to art school and then kind of fell into this world or? 

Speaker 1 (26:35): 

Yeah, so I was a student at university of Washington in the, um, department of art. I have a painting degree, um, and printmaking and I needed a job. <laugh> like all college students do or should. And, uh, I drove by the first boat street and um, thought it was really charming and I needed a job. So I like walked in and um, this part of the story, I always kind of laugh. I’m like I gave him my resume, which was essentially my phone number. I got a job as a server and started waiting tables there. And Susan who started it had a full-time job in Tacoma. And I quickly realized that serving was maybe not what I was meant to do. And so I asked if I could bake or do anything else. And so I started baking in the morning before I would go to school. 

Speaker 1 (27:24): 

And eventually just like, because of the, um, opportunity that was there because, um, a lot of times Susan was managing from afar. There was, you know, stuff just had to get done. So you were able to do things that wouldn’t have been probably what was normally given to someone like me. So over the course of a couple, like three years, I ended up helping, you know, just like cook dinner or service and went to school in Rome, which has, you know, kind of been an inspiration for a lot of the other things we’ve created and came back and, um, worked again for Susan. And at that point she was wanting to sell boat street and I had at this point graduated and was, I thought I would be a, um, art teacher, cuz I grew up with the, you know, the best people that I knew growing up were art teachers. 

Speaker 1 (28:09): 

So, um, I thought that’s what I would do. And I had applied to graduate school. Um, and I wanted to go to temple university in Penn, in uh, Pennsylvania, because they had a program in Rome. I basically just wanted to go back to Rome, um, and still to this day. And uh, <laugh> I got wait listed, I didn’t get accepted. And I was basically like Susan was trying to convince me to buy boat street. I was 20, I would’ve been 25 at the time. And I was just like, you know, what am I doing? And I basically asked my family and some close friends what I should do. And they were all like, you should buy the restaurant. So I got a loan from my folks and um, bought a restaurant and that was 25 years ago. Um, <laugh> 

Speaker 4 (28:56): 

When I first started working for an a at boat street. Um, I had a day job at a biotech company. Um, and wasn’t super happy there. Um, it was like, it was, um, maybe a couple years after college and I had that experience where like everyone was working with were in like really different chapters of their lives, you know, like 20 years older than me married kids. And there wasn’t really like a community there. Um, and I, you know, I’d always been interested in and certainly furniture making, um, is something I just grew up with my dad. Um, like our houses were always torn apart. There was always like projects going on, like always remodeling everything. Um, so that was like in me somewhere. And I think when, like I started like, oh man, this is like, not what I want to keep doing. Like I started to kind of revisit some of those like hobbies as like, well maybe this could be a thing. 

Speaker 4 (29:46): 

And um, I went to school and got an anthropology degree, so it wasn’t like super applicable to, uh, to careers. Uh, so I, yeah, same with the painting degree. Yeah. So I started, uh, I started, um, going to community college to do, uh, like math, prereq, prereq, so I could, uh, apply to grad school for architecture. Cause I was like, okay, this is like something I know I like. And um, you know, maybe that could be, um, you know, a path for me and kind of at that same time as when, um, Chad started talking to Renee about these spaces. Yeah. Um, and Renee was like, Hey, I know like, I dunno if you’re interested. Um, but you know, this might be a thing we’re doing like, and I was like, oh, this is amazing. And like, I think right away, like I started drawing, uh, like layouts and kind of all that stuff and was sending ’em to Renee. 

Speaker 4 (30:34): 

And, um, it just felt like at that time, like a real, like kind of like fast track to like, oh man, I get to like draw stuff and like design it and build it. And like people get to use it and enjoy it. And like, I don’t have to go to school or like take on a bunch, take on a bunch more debt. We’ve probably designed like one or two commercial spaces a year for like the last, like 10, 12 years. And so it’s, um, I’ve got to do kind of that design work that I wanted to do with it, like in a, you know, not a non-traditional path, you know? Yeah. So it’s been cool. 

Speaker 1 (31:05): 

I was gonna say, we always kind of joke that when, you know, when people ask us about the design part, that we are like our, we design for ourselves. So we’re like the best client ever <laugh> <laugh> cause we are like, we know exactly what we want <laugh> and so much, I mean, it’s luxurious, you know, like I think that’s the kind of decadence of, of being able to do that. 

Speaker 2 (31:26): 

And each of them having their own personality and ideas. Right. Mm-hmm <affirmative>, mm-hmm <affirmative> which one you think personally speaks to, you know, you individually Renee, if you wanna, 

Speaker 1 (31:37): 

Oh man. You had pick pick the 

Speaker 2 (31:39): 

It’s like pick your favorite child 

Speaker 1 (31:41): 

<laugh> yeah. I mean, I think I would end up picking here just I think, cuz there’s so much, I like Jeremy kind of spoke to like there’s more of us here than any of them. I think our ideas are, and our aesthetic is everywhere, but like our, you know, our grit and everything ends up being here cuz we, you know, built it from ground up and, and built it like while being open too, which I think is, you know, there’s um, clearly the restaurant industry is, is, is best for, um, the younger crowd to survive the growing days. And so like the older you get, you’re not, you know, you’re not the, you’re not the team that like is standing at the end of the night anymore. So there’s, there’s camaraderie to it. That’s really wonderful. And so I think not having that in the other spaces, to the extent that we had here changes it, you know, like the, the feeling is different. 

Speaker 1 (32:32): 

I mean we love them all. I think we have, we know we get asked all the time, like what’s your favorite? And I think we say, I would say largely, foodwise like, whale’s my favorite, but it’s because it’s an experience that is kind of more food that I wanna eat all every day be to is obviously like ultra fabulous and decadent, but like not something you wanna eat every day or at least not anymore. Um, yeah. I mean Wilmas is, um, this like speaking of like wild spaces to design too, Jeremy can talk more about that, but um, kind of the realization of my love of Roman food for so long and not really having an outlet to serve it, cuz we, we try pretty hard to keep really clear boundaries on uh, <laugh> on what the food can be within the restaurants otherwise, you know, we, because we really want them to, to stand on their own. 

Speaker 1 (33:23): 

And if given it’s sort of like the grocery store analogy earlier, like chefs will be like, yeah, I want that. And I want that and I want that, you know? And so like without having the boundaries, you know, like you, everyone would end up having like asparagus with whatever, you know, and that’s not a good example, but like, you know, like everyone would want salsa, matcha on everything in all the restaurants, you know, or whatever chili crisp, the thing that’s like everyone’s in love with right now. So, um, some places that’s okay. Some places it’s not. So having that kind of boundary is really helpful. 

Speaker 4 (33:54): 

I would have a really similar answer to Renee as like around favorite. It’s like, what’s the occasion like, oh, like this restaurant’s perfect for this kind of a thing. Or like, this is the night I want to have right now. I’ll go here and here. Um, you know, so it’s, it’s kind of all over the place. Like whatever one I’m eating at is probably like my favorite in that moment, you know? Um, I also think too, cuz it’s like happened over, um, uh, a span of time where they kind of like, they marked time in a way for me a little bit, like in my own life, like each, uh, restaurant is sort of like a sign post for like I yep. I remember when that was being billed and this was what was going on in my life. Like I don’t necessarily have that as much with like music, but for sure with like the spaces that we have together, like that’s like, it’s like a time telling kind of a thing. And so sure. Uh, I know, I guess that doesn’t have anything to do with like what one, it’s my favorite, but like they’re all like, I don’t know. They’re like, they’re like they’re each of their time and of like what we were excited about and interested in, in that time. And so each is sort of special in that way. They become like a little memento 

Speaker 2 (34:54): 

As we chatted. I learned something about oysters. I didn’t know before 

Speaker 1 (34:58): 

The spring is like, like prime oyster season, cuz they’re, you know, the lights come back and the oysters are feeding again after like all winter just trying to stay alive. And so they’re getting plump and juicy and so by summer they’re gonna be so plum and juicy that they’re gonna be spa and ready to, you know, they’re just very, very different. So I’m almost hard. I mean, I eat it well rest a lot in the summer, but I, I don’t eat oysters unless they’re really incredibly amazing. But most of the time they’re just so Milky and creamy that they’re kind of 

Speaker 4 (35:28): 

Yeah. Or like real thin, like, you know, they can be they’ve spawn 

Speaker 1 (35:31): 

Then 

Speaker 4 (35:31): 

They are like, they’re not Milky and creamy. They, they can be, uh, 

Speaker 1 (35:34): 

You can like see right through them. Yeah. <laugh> it’s like, 

Speaker 4 (35:36): 

Like ghost, ghost oysters. Yeah. 

Speaker 1 (35:38): 

Yeah. We don’t want anyone to stop coming, but, and obviously all the oyster farmers want you to keep eating em all year round, but it is one of those, you know, like you like slap your forehead where you’re like, why on earth are people not eating so many oysters in the winter? Yeah. Blow my mind. Yeah. 

Speaker 2 (35:52): 

With 13 distinctive spaces, I wanted to know a little more about their design process. 

Speaker 4 (35:59): 

We’ve I think approached it in both ways where it’s like, there’s a space that we really love and it’s like, what can we do here? Mm-hmm <affirmative> um, and we’ve also approached it, like we’ve got this great idea, where can it working? Can it live? Um, I think we’re most successful or at least I’m happiest with the outcome when we’re approaching it. Like with a idea, um, in search of the space, uh, rather than the other way around. Not that, not that you know, I don’t know. That’s just my preference. Mm-hmm <affirmative> um, early on we had been like kind of keeping a mental file of like, oh, this would be cool somewhere. Like this idea, like this material or this kind of approach to service, like all the like little pieces that kind of come together to actually like make a restaurant. I think we would, I think we’re always kind of like thinking of those things and like telling each other, like this would be cool or I saw this thing or like, here’s a picture I took somewhere like, oh, I was at this place last night and they did this thing. 

Speaker 4 (36:51): 

Um, and I don’t know, like eventually like that kind of aggregates into something that you can kind of get your arm around and feels like a complete idea. Um, I really like to have that and then find a spot that, that, um, yeah. Yeah. 

Speaker 1 (37:06): 

I like that lot there. I mean, to have to like, I, I, it goes back to being like our own perfect client is like, if we have this vision, it makes it so much easier versus having a thing that we have to find a vision to put in it, you know, like that’s, that’s kind of feels certainly less exciting and I think, um, maybe less authentic too. 

Speaker 4 (37:29): 

Yeah. And I think as, as we’ve done more of this, I think that process of, um, collecting all those little ideas that like will someday add up to something, um, has become like a little bit more formalized where it’s like, I don’t know. I think like early days we would go on trips and it would be like happenstance that we would see something. And now it’s like, we’re gonna go on a trip cuz we need to be inspired. And we don’t know like what 

Speaker 2 (37:52): 

It is that work never ends for Jeremy and Renee. For us, they’re just about to open a new restaurant Southlake union inspired by a friend of Renee’s Cameron who sadly passed away during the pandemic. He was a fan of fried chicken and rock and roll and his energy inspired, the design and food and they will fund a scholarship in his name. 

Speaker 1 (38:12): 

He, um, was from the south and was this like, you know, larger than life kind of human. And he had a popup called king Leroy. And, and so we ended up, I think, I don’t know, at some point I just mentioned it to you and all the like, you know, design details have come from that. But I think to have this person and also, um, a way for us to feel motivated to do it, some of his loves will be in there. And then also kind of like some ridiculous things. And I think we both are charmed by and wanna have around. 

Speaker 4 (38:42): 

There’s so much like nostalgia going into the space king Leroy, like Seattle kind of nostalgia stuff that like, uh, it feels like, you know, like the shoot box shoebox, like, and the like top shelf of my closet of like all the stuff that’s like from like 20 or 30 years ago that like doesn’t quite fit in any of this world. Like this world of like, you know, like white and blue and like, like sophistication in a way this gets to be like our like uncles creepy basement, totally like, uh, kind of in the best way and the best like kind of like things that we haven’t got to do anywhere else. Cute box. Yeah, yeah. 

Speaker 1 (39:17): 

Box anywhere, but there, which is great. Yeah. 

Speaker 4 (39:19): 

And to see that glitter glitter for days. So yeah. 

Speaker 1 (39:21): 

You had like glitter, glitter, banquettes, like the glitter that was on the like sixties gay boat, like glitter, 

Speaker 4 (39:27): 

Like your bass fishing. Yeah. Like, and like the shiny, like it’s that. Yeah. 

Speaker 1 (39:31): 

And all the like beer memorbilia and posters and where is this gonna be? Lots of 

Speaker 4 (39:37): 

Summer fan Leno. Um, so Southlake union, 

Speaker 1 (39:40): 

We just hope to, like, we need a lot of like peanut shells and maybe some cigarette buts on the floor. Yeah. For sure. To kind of fast forward it in its time of, of existence. But 

Speaker 4 (39:55): 

Yeah, but that one, um, kind of to bring it back to the, the question like that one. Um, and I think this is what Renee was getting at, is that that’s what that space wants to be. I think for that neighborhood and for the people that are there, that one feels like it’s less Renee and Jeremy really need like a wings bar. <laugh> like, I, uh, but it does like, there’s not anything like that in that area. Like it’s, I don’t know. I think it’s like adding something to what’s happening there. And like, I think once like, like Renee was able to kind of like define like this menu and this like direction, like through her friend, Cameron was like, oh yeah, this is what it, what it should be. And so that’s been pretty different for us. That’s not how it normally goes. Normally it goes like, wouldn’t it be cool if Seattle had, you know, blank 

Speaker 1 (40:39): 

Yeah. To like have something that I, you know, clearly care about to be the center and the focal point of it all and to feel really good about why it’s being opened. It’ll be good. 

Speaker 2 (40:53): 

Thank you. Renee Erickson and Jeremy Price for shining a candid spotlight on your fame space while we’re in the carpenter and barnacle inspire design is brought to you by the Seattle design center. The show is produced by large media. You can find them@larjmedia.com special thanks to mechi Suzuki, Lisa Willis and Kimmy design for bringing this podcast to life for more head to Seattle design center.com, where you can subscribe to our newsletter and follow us on social media. Next time on inspired design, we head to Woodenville and sit down with John and Peggy Bigelow at their famed winery, JM sellers. 

Speaker 7 (41:41): 

It’s really fun to have an environment like this, where people can walk around with their glass of wine and really explore things that maybe they haven’t seen before. 

Susan Marinello | Skyline Sanctuary

Susan Marinello | Skyline Sanctuary

In this episode of Inspired Design, follow Susan Marinello up forty stories to the top of McKenzie Tower where you are met with a full 360-degree panoramic view of the beautiful Seattle Skyline. From a conference room designed with an acoustic trade trick to specific seating height to maximize spatial awareness, every inch of this space was designed to make you feel like you are on top of the world. Learn about the design decisions that make this rooftop lounge more than just a pretty view.

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Mckenzie Towers

WORK WITH SUSAN MARINELLO

Susan Marinello Interiors

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Susan Marinello Interiors is a multi-disciplinary interior design firm based in Seattle, Washington. Established in 1996, the award-winning firm provides complete interior design, furniture design and procurement for residential, hospitality and commercial projects. Our philosophy has always been to find and create a cohesive marriage between architecture and interior while respecting location, sense of place and natural views.

With a wide array of projects in locations throughout the US, our work is driven by the guiding principle that an interior must engage in the context of architecture, landscape and above all, enhance the human spirit. Since its inception, the firm has garnered acclaim for its signature approach to creating interiors as natural backdrops for the people occupying the space.

Episode Transcript

Speaker 1 (00:00): 

Rewind. This is maybe 1998. I had been asked to renovate the center court women’s restroom at Bellevue square shopping center in downtown Bellevue. And this was an exciting space for me, uh, because it’s a large restroom and there’s a, uh, women’s lounge. And so new mothers bring their babies in there to, you know, to breastfeed or to just take a moment. I really took this project seriously, and I thought about the colors and materials and the finishes, and we got all done. The project what’s constructed. It opened up probably a month or six weeks after it had opened. And I was walking down the hall and there was a mother and little girl in front and the little girl, she must have been six years old. She looked up to her mom and said, mommy, are we going to the pretty bathroom? And the mom said, yes, we’re, we’re going to the pretty bathroom. And I was behind her. And I was so touched by the fact that this six year old was excited. We reach everyone no matter what age. So, you know, to the six year old to the 96 year old, it matters. And we can move people by the work that we do. And that’s a, that’s a responsibility and a privilege all at the same time. 

Speaker 2 (01:23): 

I’m Gina Colucci with the Seattle design center every week on inspired design, we sit down with an iconic creator in a space that inspires them. Hi, 

Speaker 1 (01:31): 

Well, hi, how you doing? Welcome to McKenzie 

Speaker 2 (01:35): 

This week, interior designer, Susan Marinello takes us through her team’s latest project. The McKenzie tower in the heart of downtown Seattle. This is unbelievable. We take a high speed elevator up 40 floors and meet Susan at the top. How 

Speaker 1 (01:51): 

Did you like that? 

Speaker 2 (01:52): 

I could feel it in my 

Speaker 1 (01:53): 

Ears. I know. In fact, my ears are still ringing too. Yeah, yeah. Um, yes. And here we are. I was hoping the sun would be out because it is the most divine sunset. I think in downtown Seattle, it’s a beautiful place to sort of perch and understand all that’s happened in our beautiful city in the last, um, five, seven years 

Speaker 2 (02:15): 

From the elevators. We walked through the common area and into this board room or the EOPS room 

Speaker 1 (02:22): 

It’s, um, rich with books and art. You can see 

Speaker 2 (02:28): 

The, because of the shape of the building. It is not a perfectly square room. It kind of comes to a point, uh, as you enter, there are bookshelves along the left hand side and a large conference table with these beautiful chairs surrounding it. And then there is this breathtaking glass sculpture hanging from the ceiling. You 

Speaker 1 (02:50): 

Can see there’s a beautiful piece by Anne Gardner, who I love. 

Speaker 2 (02:54): 

Uh, they almost looked like bubbles. 

Speaker 1 (02:57): 

It’s large blown glass. And, um, even though it’s multiple pieces, mm-hmm, <affirmative> she arranges them and chooses the shapes and, uh, installs it. 

Speaker 2 (03:09): 

Right. So I quickly counted there’s eight. Yes. Eight pieces. Yes. All varying sizes from a large basketball to probably 

Speaker 1 (03:17): 

To a massive watermelon to yes. 

Speaker 2 (03:21): 

To a, a medium sized dog. Yeah. <laugh> 

Speaker 1 (03:24): 

Yes, exactly, exactly. 

Speaker 2 (03:26): 

And how did you choose the color cuz 

Speaker 1 (03:28): 

It’s yeah, we wanted it to reflect the sky. So the color is a reflection of the Seattle sky nine months out of the year. And even when it’s brilliantly sunny, it, it works with the reflection of the sky. But this is where we are. We’re up here in the sky. We’re facing west, looking over Elliot bay and looking past the new Amazon towers into, you know, the fairies coming in and out. We’re looking over at west Seattle and down through, into the port. And you know, from this perch all looks well with the world. Right? Right. Exactly. Seattle is in glorious form 

Speaker 2 (04:06): 

With such a stunning view. One might be forgiven for forgetting about the interior space, but in this case I couldn’t, the ellipse room seemed to perfectly compliment its ethereal surroundings. I asked Susan about the books. Yes. 50% of the room is covered with bookshelves. 

Speaker 1 (04:23): 

So a few walls here lined with books and we take the paper bindings off to expose the bindings chosen for color chosen for style. The big benefit is we get a real quiet room. When we line up with books, it becomes acoustically calmed down. I don’t know if you guys have noticed just even being in here, there’s a, it’s a few notches, uh, quieter than anywhere else. And we find that it’s interesting for people who use the space, they get to peruse and borrow 

Speaker 2 (04:55): 

A book. If you wanna see exactly what we’re talking about, head to the Seattle design center website on the inspired design podcast page, and you’ll get behind the scenes images and be able to see all the little details that we cover. 

Speaker 1 (05:09): 

Okay. So let’s go this way. Now we’re in the wide stretch of the elliptical OV looking direct west and, and we can see for miles and miles and miles 

Speaker 2 (05:21): 

As we walked out of the boardroom and into the common space. And you just mentioned that we’re now kind of in the middle of the longer oval yeah. Full width. Yes. There you go. The full width and there’s floor to ceiling, glass, glass, windows. And then from, you know, I look left and you can see the buildings of downtown and then I look right and you can see the space needle. Yes. And you just have this UN encumbered view. 

Speaker 1 (05:51): 

Yes. It’s very unique and special and being on eighth avenue. So we’re set back from the waterfront. I think it’s remarkable because here we are in the skyline. So at night we have all these, you know, beautiful buildings lit and then you’ve got queen Anne and you see it all you 

Speaker 2 (06:09): 

Really, you really do. And something that just hit me is you said you came into this project when the tower was only half built. Yes. So you really designed this space without actually ever being up this yes. 

Speaker 1 (06:22): 

At this point. Yes. Yes. Fortunately, today we’ve got, you know, there’s technology, so there’s drones. So we, we, we have bird’s eye views of what the views are going to look like different times of the year from this, you know, vantage point. So we know what the view will look like. And I’m a Seattle girl, so I know the color of the sky and the quality of the light. And I know this, you know, I, I used, I grew up as a kid living in west Seattle, so I know what that’s all about. So I feel like this was my pallet. I was very excited about this. 

Speaker 2 (06:59): 

There’s a beautiful fireplace. Yes. In the middle of the room. 

Speaker 1 (07:04): 

Yes. We center. We, we centered the fireplace on the elevator lobby. So it’s the first thing you see when you open the door because we wanted that welcoming, uh, sense of arrival and funny fact, listening to the canvas’s story and talking about how that fireplace is right at their entry. It’s the same psychology. Yeah. We need fire in the Northwest. We want that sense of welcome. Right. And so it’s, uh, people have really appreciated it. 

Speaker 2 (07:36): 

This isn’t your typical fireplace. It was in the center of the room and had four different sides, but you could see all the way through it. And there was this beautiful purple glass in the middle. It warmed up the space, not just physically, but it warmed the energy of the room. Yeah. And even the color of the glass that’s inside. Yes. The gas fireplace. Yes. I’m sure wasn’t by 

Speaker 1 (08:00): 

Accident. No, no, no, no. We, we, everything you see, we chose. Yes. It also acts as a really great room divider. Mm-hmm <affirmative> so, you know, multiple people can be up here doing different things. And that’s the idea. I mean, yeah. This is the extended gathering, living room, family room. Hang out for, for everyone. You wanna meet a neighbor, you wanna have a meeting. Yeah. You just wanna change a scenery. 

Speaker 2 (08:24): 

You want this, 

Speaker 1 (08:25): 

You want this view. Exactly. Yeah, exactly. 

Speaker 2 (08:28): 

So as we continue around, we’re now entering another section that is the right 

Speaker 1 (08:35): 

Shorter point of. So now we’re, we’re now we’re in the, um, the north end of the elliptical oval, which is hello, space needle. Yeah. 

Speaker 2 (08:44): 

Just had a 

Speaker 1 (08:44): 

60th anniversary. Exactly. So, so great. And queen Anne, and we start to be able to peek down into lake union. Again, you get to see more of the palette. I mean, this is what we brought inside. 

Speaker 2 (08:59): 

What were the builders and the architects and owner inspired by the space needle as 

Speaker 1 (09:04): 

It. Oh, for sure. Yes. I mean, this is, this is one of the most coveted sight lines in, in all of the Northwest. So anytime you have a way to look at the space needle, you’re celebrating it, which is why we kept things pretty open right here. You can see everything’s real low and we wanted people to be able to engage with it. 

Speaker 2 (09:26): 

And can you elaborate on why everything you said everything’s low? So the furniture, the tables, the are at like counter height, they’re 

Speaker 1 (09:32): 

All at yes. We kept things 30. Yeah. Even cocktail height. This is 26 inches, which is a, a, a proportion that I we’re kind of into right now in my office. Even let’s get it even lower <laugh> and it’s very relaxed and that loungey feeling, we want people to feel like they’re hanging out and they’re not, they’re not on. So Gina, if I sat you in that bar stool over there yeah. Where you’re raised up, you’d have a posture. But if I sat you here with, with your drink, you would be more relaxed. It’s just a feeling of like, oh, I’m gonna sit back and 

Speaker 2 (10:09): 

Relax instantly. You know, you go from standing to just sitting. Right. You kind of relax exactly. Just a little bit. Exactly. Yeah, 

Speaker 1 (10:17): 

Exactly. So all those dimensions are important. And of course we like to make sure we have a little bit of everything for everyone. Uh, 

Speaker 2 (10:27): 

You sat here at the reflect. So across the room there, there’s 

Speaker 1 (10:31): 

Lots of mirrors in this project. Yeah. And very inspired obviously by where we are by the views, by the fact that this is a story of light, the Seattle light, but the, the mirrors and all the reflective touches allow all of that energy and movement to flow around the space. And it’s a very contributory, uh, experience 

Speaker 2 (10:55): 

Cause that right. There’s it looks there’s, um, a kitchenette on the other side of the room, uh, and it there’s mirrors on the back splash all the way up the ceiling. Uh, and it is reflecting the sky. Yes, perfectly. Right 

Speaker 1 (11:12): 

Now. It’s another window. The goal with using the mirror was a to bring the light in. And, uh, also you’ll notice the glass cladding. The building is very reflective. It’s very sparkly and we wanted that on the interior. So there’s a sparkle to everywhere you look and the mirror we use just to create more windows and in aspects where there, there isn’t, and you’ll notice it in the lobby too, 

Speaker 2 (11:42): 

As you come in and it is just the color wave in the sky right now is matching perfectly with everything in our, in the interior of the space. Yeah. So we’re walking out onto the deck. Yes. As you exit the common area and step out onto the roof deck, remember that the building isn’t oval. So you get this sweeping almost 360 view of the entire city. You start from the south end where the ports are and continue along to see the space needle, south lake union. You can even see Bellevue, it’s such an amazing perspective to see the city at, because everything looks different than obviously when you’re 40 store. Yes. Lower. Yes. Uh, but it you’re right. Each building has its own personality. Right. 

Speaker 1 (12:29): 

That’s right. Which is what Seattle’s about. Right. Mm-hmm, <affirmative>, there’s a lot of celebration right here in this intersection. 

Speaker 2 (12:39): 

Susan’s love for her. Hometown is clear as we continue around the roof deck surveying this beautiful city below 

Speaker 1 (12:46): 

We’re, we’re really right. Dead end north. And we’re now veering, uh, over to the east. And it’s actually kind of, you know, like a really classic Monday night in Seattle in this point in time, because you can see the I five is slowing and we can see, you know, people are, are gathering. I’ve seen a few people walking around in that tower over there. Um, you know, there’s, there’s no question Seattle’s quieter today than it was two years ago. Right. Mm-hmm <affirmative> two and a half years ago. And so I’m always looking for these very exciting clues of things, feeling more energetic and feeling like life in our town is, is reviving. 

Speaker 2 (13:34): 

Well, it definitely feels that way right now. 

Speaker 1 (13:35): 

Yeah, it does. Up here. It does. 

Speaker 2 (13:37): 

And as we continue on, oh my gosh. I can see the Amazon spheres. There 

Speaker 1 (13:42): 

You go. Yes. We are on top of the world right here. 

Speaker 2 (13:46): 

We really 

Speaker 1 (13:47): 

Are. Yes. 

Speaker 2 (13:49): 

That is amazing. Yeah. Ooh, here comes the wind. We headed inside as the wind picked up. You definitely don’t get a view like this every day. Well, the people who live here do 

Speaker 1 (14:01): 

<laugh>. I know 

Speaker 2 (14:02): 

We now entered back into the building where we first started our tour at the elevators. 

Speaker 3 (14:08): 

Great 

Speaker 4 (14:10): 

Show. You let’s see. Do you wanna cut through here? Just real quick? Could you just 

Speaker 2 (14:12): 

Do that? Okay. Right here. We noticed the custom rug built into the floor. It was created to match the sunlight, hitting the water. 

Speaker 3 (14:22): 

And so you’ve got a runner when you get off the elevators. Yes. And then there were two large, yes. Freestanding rugs. That matches is our, this is the dog you dog slate. This 

Speaker 1 (14:33): 

Is the dog spa. 

Speaker 3 (14:34): 

<laugh> 

Speaker 2 (14:35): 

One of the amenities in this part of the building is a dog spa. It had the cutest puppy wallpaper, beautiful wall SCS, even a little kitchenette. This 

Speaker 3 (14:46): 

Is cute. How much fun did you have picking out the wallpaper on the back of the 

Speaker 1 (14:50): 

Lots of fun? Yeah. 

Speaker 3 (14:51): 

Yes. There’s there’s little 

Speaker 2 (14:54): 

Doggy wallpaper on the back of the shelving units in the dog spa. Yes. 

Speaker 3 (14:59): 

You guys really did think with everything. 

Speaker 5 (15:06): 

Seattle design center is the premier marketplace for fine home furnishings, designer, textiles, bespoke lighting, curated art and custom kitchen and bath solutions. We are located in the heart of Georgetown, open to the public Monday through Friday with complimentary parking. Our showroom associates are industry experts known for their customer service. We’re celebrating new showrooms and added onsite amenities, visit Seattle design center.com for more information about our showrooms and our find a designer program. 

Speaker 2 (15:38): 

Susan shared with me that she had a lot of creative freedom on this project. 

Speaker 1 (15:42): 

We think of the, a project like this and at like a large home, it just has lots of rooms, you know, in between obviously when you come in off the street and you walk into the lobby, that’s really your first impression how you arrive home is, um, meaningful and something. We, we really spend a lot of time considering, right? When you walk in the door, what happens for you emotionally? Here we are up on the roof. I mean, for us designers, like let’s not mess it up because this is so spectacular. We don’t need to do a lot. Right. The view is so crazy. Good. We just need to make sure everything is complimenting the view. 

Speaker 2 (16:19): 

And as you were in the design process, you had the lobby, the roof deck. What other areas did you do and what was kind of your common theme through them? 

Speaker 1 (16:29): 

Yeah, so we’ve got, there’s a, an administrative leasing area on the second floor with a gathering space. It’s really quite nice. There’s a spa, there’s a gym. You know, anything that you would sort of fantasize about needing in your, when you think about what you want in your, in your personal living life, did 

Speaker 2 (16:47): 

You pick all the finishes in, in the apartments as well? Yes, 

Speaker 1 (16:50): 

We did. So, uh, we were responsible for, you know, the spec of the units. Uh, really every square inch of interior surface that you see is, is our responsibility 

Speaker 2 (17:02): 

With every space in the building, falling under Susan’s responsibility and vision. I wanted to hear more about her philosophy and process for making each space individual, while also maintaining a connective thread. 

Speaker 1 (17:15): 

We start out at 35,000 feet. Mike, where are we and why, and what are we looking at? And we really connect with the big picture vision. And then we bring that down to who’s going to live here. Why are they going to come live here? Jean is gonna come live here. What does she want when she walks in the door? What does she need? You know, if she’s having a bad day and coming in off of the street and what, what needs to happen in 30 seconds, when you walk in the door that makes you feel safe, comforted, proud, I’m home. This is my, this is my place and all of those considerations. So from you to, at large, how it fits into the Seattle skyline, those are, those are where we hang out. 

Speaker 2 (18:08): 

Is there anything, I mean, you said that you didn’t, everything you envisioned got to happen in this project, which is rare. Yes. Right? Like that doesn’t usually happen as you’re fantasizing about a project or, you know, envisioning it. 

Speaker 1 (18:23): 

I love working with developers. They have amazing vision. There’s always, uh, an effort and, and a, a contribution they want to make. And this was special. This is, you know, this is my town. This is, this was a, like I said, small team, uh, very involved owner who was very collaborative. And we, we were designing a home. That’s really what it came down to. So the process felt like we were designing a home. 

Speaker 2 (18:52): 

Well, it’s very comfortable. That’s good. An elevated, comfortable where that’s good. You feel? 

Speaker 1 (18:57): 

Yeah, that’s good. The elevated, comfortable. I love that term because that’s what we’re after. We want it to feel very luxurious, but very approachable. Mm-hmm <affirmative> and, and every moment where you put your eyes, like welcoming, come sit down and hang out here. We are up on the roof. I mean, it, it’s kind of for us designers, like let’s not mess it up because this is so spectacular. We don’t need to do a lot. Right. The view is so crazy. Good. We just need to make sure everything is complimenting the view. 

Speaker 2 (19:29): 

You’ve got to check out the photos on the website because my words are not doing this justice. We were touring on a cloudy day. And even then the view was stunning. And talk about a vibrant sunset. 

Speaker 1 (19:44): 

No, Seattle evening is ever the same. The light’s always changing. It’s you know, you could come up here 365 days a year and it’s gonna look different. 

Speaker 2 (19:52): 

Susan thought of everything. I mean, if Seattle had a color palette, Susan Marinello interiors would be it. So you’ve mentioned a few times you are a Seattle light. This is your home. Yes. But you went to New York. Yes. For interior design school. Yes. You worked under Victoria Hagen. Yes. What brought you back? 

Speaker 1 (20:14): 

Yes. I had a baby. 

Speaker 2 (20:15): 

That’ll do it. 

Speaker 1 (20:16): 

And life became real clear. I always knew that I would likely come back, but I just didn’t know when, and, and I can, I can share that. It really was that moment of, I wanna be back in my hometown. I wanna be back in with my people. I wanted to start my own company. I wanted to do it in my town. Really. Honestly, I’ve made several good decisions in my life that is up there with really one of the best decisions. This is my town. I’ve had been, you know, fortunate to travel all around the world. And I have many favorite cities, New York being one of them, but this is home. This is, this is where it’s happening. 

Speaker 2 (21:01): 

You’ve been an interior designer for 25 plus years. 

Speaker 1 (21:07): 

Yeah. So I’ve had Susan Marinella interiors for 25 years. And I, congratulations. I have, I have probably four years behind that. So I’m soon to approach probably a 30 year mark of, you know, career professional. 

Speaker 2 (21:23): 

So I mean, that is an amazing career. And you’ve seen trends come and go. You’ve seen styles. You’ve seen all types of clients. Yes. Tell me kind of what has changed. What has stayed the same? Yes. What do you wish would change? 

Speaker 1 (21:40): 

Yeah. You know, it’s such a good, I love that question. What has changed? I think what I’ve really seen today is people are valuing interior design. So interior design has become something that’s a very important part of your home, whether you’re the newly graduating college student or, you know, the retiring couple or you design has become more available, more accessible and, and people are educating themselves or getting involved, they’re learning. And they’re recognizing how important it is to have things that you are meaningful to you. And that make you feel great around you. 

Speaker 2 (22:23): 

What has stayed the same, 

Speaker 1 (22:24): 

The values of what we humans need. We need to feel comfortable. We need to feel enveloped. And we have a kid of parts of key ingredients that matter to us on a daily basis, lighting, soft textures, you know, surfaces that are available to us for the things we need to do and the technology and the sustainability, those things are ever changing and evolving. But what we need as humans hasn’t changed. 

Speaker 2 (22:55): 

You consider yourself a multidisciplinary design firm. Mm-hmm <affirmative> can you explain that? 

Speaker 1 (23:01): 

Yes. I love that. Okay. So, uh, we work on hotels. We work on commercial, new construction, high-rise development, like the beautiful project we’re sitting in, and we work on really beautiful private homes. The common denominator in all of that is their residential and where the hotel is. Obviously, you know, you’re staying for only two nights. It’s your home for those two nights. So we take it really seriously. Like this is home, home, away from home. Uh, this is someone’s, you know, beautiful urban home. And, um, there might be, you know, a private lake front home, or a vacation home. I have really grown into, uh, the commitment to that in my work, because the two inform one another mm-hmm <affirmative>. So the, the work we do in a private home, for instance, whether it’s, you know, sun valley or Hawaii, you name it, we are learning things in a really important, valuable way about whatever it is. That’s ahead of us with a, a particular family or couple those ideas get extrapolated and distilled into the work we do for the high rise towers. And I like that a lot. 

Speaker 2 (24:20): 

What, what is one thing that you carry into each of those projects? That’s very Susan Marinello that you’re like every project you can find. What’s your Easter 

Speaker 1 (24:30): 

Egg. That’s nice. Uh, leave the ego at the door, stay focused on who the end user is, understand where you are in the context of where you are and drop something in. That’s so special and elevated, but that it’s not loud and it’s not shiny and sparkly. And in the way, you know, nothing should ever overshadow the people that are in the space. 

Speaker 2 (25:01): 

Part of Susan’s overarching philosophy is enhancing the human spirit that care and intentionality in centering the individual rather than the design is very clear as we sit in the space, 

Speaker 1 (25:13): 

No matter what it is that you’re doing the experience of the people interacting with it or paramount, everything that we put in a room builds it. But none of it matters because it’s us sitting in here. That’s what matters this moment, live time. We’re here. This is just the backdrop for it. So let’s make it really as enjoyable as we can and let’s make it so you wanna hang out. You’re not in a hurry. You wanna stay linger. That’s that’s what motivates my work enhancing the human spirit is a mission because I don’t think there’s anything more important. 

Speaker 2 (25:51): 

Susan has worked all over the world. So I was dying to know where did she wanna work next? 

Speaker 1 (25:57): 

Okay. This is really, this is I’m gonna put this out because maybe somebody’s listening can, can make my dream come true. But I have family in Alaska. My mother was raised on a homestead on the Kenai peninsula lab. A lot of people don’t know this about me. I have never had a project in Alaska and I would love nothing more than a project in Alaska. And so I’m just putting that out there because I have a strong connection to the state, the history, and would love nothing more than something really cool. <laugh> yeah, it was my grandfather that homesteaded, when, when he claimed his land, it was in 1939. So he, and then he was in the army during the war, but there were 13 people within a 45 mile radius. And now there’s 2,500. Yeah, you guys, my mom. I mean, she snow shoot to a one room school house until her senior year in high school, you know, literally like there’s stories where she had, you know, moose following her. And it was a crazy time. They were, it was very remote. Very, very remote. Yeah. Do 

Speaker 2 (27:13): 

You think you’d take that kind of survivalist, uh, mentality on 

Speaker 1 (27:17): 

With you? Hell yes, absolutely. Being raised by a mother who was raised on homestead, you learn how to be, um, environmentalist and green and sustainable, and you never discard anything. You reuse things. There’s a practicality to how we think about interiors that is really strategic. And that has really resonated in, in everything I think about. 

Speaker 2 (27:50): 

Thank you to Susan Marinello for taking the time to give us a tour through this beautiful space and to the folks at McKenzie tower for your warm hospitality, inspired design is brought to you by the Seattle design center. The show is produced by large media. You can find them@larjmedia.com special, thanks to mechi Suzuki, Lisa Willis and Kimmy design for bringing this podcast to life for more head to Seattle design center.com, where you can subscribe to our newsletter and follow us on social media. Next time on inspire design, Renee Erickson and Jeremy Price. Take us through their iconic restaurant, the walrus and the carpenter 

Speaker 6 (28:38): 

When Renee was, um, painting the second boat street, like she really wanted this like warm, like sort of rich white color, sort of like glowy candle. Lighty kind of like white color and just couldn’t like find anything she was satisfied with. And so she took Jeffrey, the dog into the paint store <laugh> and like had it, had his fur matched. 

 

2022 Q2

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Colleen Knowles

Colleen Knowles

Colleen Knowles, one of the Pacific Northwest’s leading luxury residential designers, is known for the exceptional service and the unique interiors she provides prominent homeowners in Greater Seattle, the San Juan Islands and east of the cascades.

Colleen, a full-service custom designer, has worked on primary and secondary homes for clients over her 30-year career. She has won service as well as design awards, and more than 90 percent of her work comes from referrals.

Clients use phrases like “extremely creative,” “exceptionally organized,” “amazing to work with,” and “strong skill set for technical projects requiring complex detailing” to describe her. Some of her client relationships date back 10 years, and she has worked with different generations of the same family.

Colleen helps clients improve their lifestyles by enhancing the look, comfort, and functionality of their homes. In the process, she develops close friendships with those clients.

“My projects are varied because my clients are varied,” says Colleen, who is Mercer Island’s top-rated design professional and also works in Broadmoor, Madison Park, Washington Park, The Highlands, and other area communities. “My best clients ask for a lot. That challenges me to do my very best, and grow.”

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