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Demisch Danant’s renovation of a landmarked 1846 Brooklyn townhouse shows how a historic house can feel calm without becoming blank. The team preserved the building’s scroll moldings, ornate banisters and 13-foot ceilings as the dominant visual experience, then supplied a deliberately edited layer of furniture, art and materials. Rare design pieces provide personality and history; restrained placement keeps the architecture legible.
Architectural Digest’s August 15, 2024 feature identifies Richard Upjohn—also known for Trinity Church in Lower Manhattan—as the townhouse’s architect. Demisch Danant led the historically sensitive renovation with Cheung Showman Architects. The family who commissioned the work is not named, so the house is best understood through its design decisions rather than an assumed owner profile.
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The answer in this Brooklyn house is not to remove every visual detail. It is to let the original architecture carry the room and make everything added to it unusually intentional. The designers treated the townhouse as an ornate shell whose scale, moldings and circulation already supplied drama. Furnishings were then chosen to support that structure instead of competing with it.
The approach reflects the client’s stated aim: “We wanted to allow the architecture to do the heavy lifting, adding minimalist furnishings that would not distract the eye.” That sentence describes a hierarchy. The building comes first; furniture, lighting, textiles and art are the secondary layer. Minimalism therefore means restraint in quantity, placement and visual noise—not an absence of objects or character.
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Demisch Danant also looked to 17th-century Flemish country homes. That reference helps explain why the rooms are not stark modernist galleries. Flemish interiors can feel grounded, tactile and historically accumulated. Here, that atmosphere is translated through collectible twentieth-century furniture, natural-looking materials and carefully selected artworks, all set against the townhouse’s nineteenth-century ornament.
Preserve the elements that already have authority
Scroll moldings, ornate banisters and 13-foot ceilings are not incidental decoration. Their height and craftsmanship establish the proportions of every room. Covering them with dense built-ins, busy color or oversized furnishings would have weakened the house’s identity. The renovation instead leaves those features visible so the eye can read the original architecture before settling on individual objects.
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Use fewer, stronger interventions
The newly introduced finishes are specific rather than numerous: ash plank flooring, a spartan Bulthaup kitchen, terra-cotta-colored Rosso Alicante marble in the powder room and pale gray travertine in the primary bath. The source does not identify product models, suppliers, stone grades, plank dimensions or installation specifications. What is clear is the palette’s discipline: warm wood, a saturated mineral color in one small room and a quiet gray stone in another.
What did Demisch Danant renovate for the family?
Demisch Danant oversaw the renovation in collaboration with Cheung Showman Architects. The project balanced preservation with the practical requirements of a contemporary household. Rather than reconstructing the townhouse as a period museum, the team inserted modern services and rooms while keeping the historic envelope visually present.
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The kitchen: deliberately spartan
The kitchen is described as a Bulthaup installation with a spartan character. In the context of the house, that spareness creates a useful counterpoint to the ornate shell: smooth, restrained cabinetry can recede while moldings and ceiling height remain visible. No model, layout, appliance package, dimensions or performance data are reported, so the project should not be used as a technical specification or purchasing guide.
Floors and baths: a controlled material vocabulary
Ash plank flooring introduces a pale, quiet base under the furniture. In the powder room, terra-cotta-colored Rosso Alicante marble provides the strongest color statement named in the feature. The primary bath shifts to pale gray travertine, giving that room a cooler and more subdued register. These choices show how a restrained interior can still use contrast: the palette changes from room to room, but each material is allowed to read clearly.
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The house is landmarked, and the design is historically sensitive, but the published account does not list approvals, structural interventions, mechanical systems or preservation restrictions. It is therefore possible to describe the visible result—original character retained, contemporary furnishings introduced—without claiming a particular construction method or regulatory outcome.
What furniture is in the Brooklyn townhouse?
The furnishings are not generic placeholders. They are rare or historically significant works that give the quiet rooms their narrative charge. The following pieces are specifically identified in the Architectural Digest feature.
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| Room or use | Named piece or maker | What the feature establishes |
|---|---|---|
| Main living area | Pierre Paulin’s 1969 Multimo sofa | A collectible centerpiece that the children also use in daily life; the family reports that it already needs reupholstery. |
| Dining area | Ten rare Joseph-André Motte dining chairs and a Michael Anastassiades table | A complete set of ten Motte chairs is present; no dimensions, edition details or upholstery specifications are given. |
| Additional tables | Mathieu Matégot table | Named as part of the home’s collection; the room placement is not further specified in the published account. |
| Lighting | Jean-Pierre Vitrac floor lamp; Osvaldo Borsani wall light; Maria Pergay lighting | Lighting is treated as collectible design, not merely invisible illumination. |
| Storage | Étienne Fermigier cabinet | A historical furniture object that adds material and narrative interest without requiring a crowded display. |
| Media room | Built-in daybed with cushions made from vintage Japanese textiles; Jos Devriendt table lamps; Isamu Noguchi lantern | A softer, family-oriented arrangement combining built-in seating, reused textiles and recognizable lighting designs. |
The list demonstrates the project’s version of minimalism. There may be fewer objects than in a heavily layered traditional interior, but each object has a strong identity. A rare chair or a sculptural lamp can carry more visual and historical weight than a room full of interchangeable décor.
How does the art keep the rooms personal rather than austere?
Works by Bill Henson, Viviane Sassen, Robert Longo and Sheila Hicks are identified in the house. The feature does not provide titles, dates, dimensions or hanging locations for each work, so those details should not be inferred. Their presence does establish an important principle: the walls are not treated as neutral backdrops. Art supplies color, texture, biography and tension while the furniture remains controlled.
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How does the house work for a young family?
The clearest evidence is the family’s account of the Multimo sofa. The client says, “They jump on the foam seat, crawl through the back. We already need to get it reupholstered.” The “they” refers to the couple’s children. This anecdote shows that a valuable design object is being used rather than cordoned off, but it is not evidence that the sofa is generally durable, child-safe or suitable for every household.
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The media room offers a second family-oriented move: a built-in daybed with cushions covered in vintage Japanese textiles. A daybed can accommodate lounging, reading and informal viewing without introducing another freestanding sofa. The vintage textiles bring pattern and softness into an otherwise edited scheme. Jos Devriendt table lamps and an Isamu Noguchi lantern add visual interest at a lower, more intimate scale than the tall townhouse rooms.
These choices suggest a practical distinction between preciousness and untouchability. The family continues collecting, yet the children occupy the same rooms as the collection. The design accepts wear as part of domestic life; the reupholstery comment records a maintenance consequence, not a failure of the overall concept.
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1Fix the driver behind crashes, sound loss and screen glitches2Clear out junk files and repair common Windows errors3Scan for outdated or missing drivers - takes under a minuteWhat makes the design feel serene instead of empty?
Serenity comes from coordination among several variables rather than from a single white-and-beige formula.
- Architectural emphasis: the 1846 shell, moldings, banisters and ceiling height remain easy to read.
- Visual restraint: furnishings are edited so sightlines are not blocked by an accumulation of unrelated pieces.
- Material contrast: ash, terra-cotta-colored marble and pale gray travertine create variation without a large palette.
- Collectible specificity: Paulin, Motte, Anastassiades, Matégot, Vitrac, Borsani, Fermigier, Pergay, Devriendt and Noguchi pieces prevent the rooms from feeling anonymous.
- Artistic counterpoint: works by Henson, Sassen, Longo and Hicks add stories and visual friction to the calm setting.
- Real-life use: the media room and the children’s treatment of the Multimo keep the house from reading as a staged showroom.
Because the project is one documented residence, it does not prove that this formula will produce the same result in every townhouse. A room’s light, proportions, original detailing and collection will change the balance. The transferable idea is the ordering of decisions: preserve the strongest architectural facts, then edit additions around them.
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How should you read the project’s competing design priorities?
The house brings several goals into tension. The table below separates them so the strategy is easier to understand.
| Design priority | How it appears here | Trade-off to recognize |
|---|---|---|
| Preserve original character | Historic ornament and 13-foot scale remain prominent. | New work must accept the visual authority of the existing shell. |
| Maintain visual restraint | Furniture and finishes are deliberately limited and coordinated. | Every added piece becomes more noticeable, so selection matters more. |
| Use collectible design | Rare chairs, historical furniture, art and named lighting carry the rooms. | Collectible objects can require specialist sourcing, care and future reupholstery. |
| Support family life | Children use the Multimo; the media room centers a built-in daybed. | Daily use brings wear to valuable materials and upholstery. |
| Keep rooms personal | The curation responds to the client’s collecting interests and experiences. | A restrained scheme cannot be copied faithfully without the client’s own history. |
What is known—and not known—about the project?
The published feature supplies a clear visual account but not a renovation budget, timeline, construction schedule or return-on-investment calculation. It does not provide technical specifications for the Bulthaup kitchen, ash flooring, Rosso Alicante marble or travertine. It also does not state the market value, provenance, edition numbers or current availability of the named furniture and artworks.
Those omissions matter if you are trying to reproduce the project. Prices and dealer inventory for rare design change, and a landmarked townhouse may involve local approvals that are not described in the article. The feature is best used as a design case study, not as a cost estimate, procurement list or performance review.
The article was published on August 15, 2024. Its account of the house’s history and visible design is relatively stable, while collectible availability and any current dealer relationship would need separate, up-to-date verification. Demisch and Stéphane Danant are reported to have founded their eponymous gallery in 2005; that biographical detail explains the practice’s collecting context but does not establish present inventory or services.
A restrained interior with a full biography
This Brooklyn townhouse demonstrates that minimalism can be additive in meaning even when it is subtractive in clutter. Richard Upjohn’s 1846 architecture supplies scale and ornament. Demisch Danant and Cheung Showman Architects keep that shell legible, then place a small number of consequential objects within it: a 1969 Multimo, ten rare Motte chairs, distinctive tables, historical lighting, a built-in daybed and artworks with their own histories.
The result is serene because the parts are not competing for equal attention. It is personal because the selected pieces belong to a collector’s life and are allowed to be used by a family. The project’s most useful lesson is therefore not a shopping list or a color recipe. It is a method: protect the character that cannot be replaced, edit the new layer, and let meaningful objects do more work than a crowded room.
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