1211

1211 began as an argument with ourselves: how close can a renovation get to the intelligence of the original house without becoming a costume of it? Every decision was measured against the architecture rather than against a mood board.

Original beams were left exposed at the entry, paired with a warm rift-oak door and a single opal globe — the whole arrival sequence reads in three materials.

Outdoors, a linear fire table and low woven chairs frame the mountain view. The house is at its best after sundown.

Beyond the courtyard walls the property unfolds as a series of rooms without ceilings: a teak sofa under a black parasol, chaises along the lawn, an outdoor shower set into white stucco, and a citrus tree standing over raked gravel with a carved totem for company.

Inside, the living room keeps its original stone fireplace and breeze-block screen; a low turquoise daybed faces the sliders so the pool reads as the fourth wall. A quartz island, a bar wall in white oak and glass, and a tiled shower framing a slot window finish the plan.

The plan is deliberately open: polished concrete runs from the oak entry door past a breeze-block screen to the kitchen, and low-slung daybeds in orange and turquoise mark the seating without walls. Baths take the opposite tack — walnut vanities, black fittings, penny-round floors and one large photograph each.