We just moved into a new house, but it doesn’t seem to matter, does it? You always need more bathroom storage! And could a bathroom ever be “too pretty”? I think not. 😉 So we start this post out with high hopes that all of us will find at least something to make their bathroom space more the retreat that we all deserve to have. Organized, and drop dead gorge! Try these DIY bathroom decor & storage ideas and projects to make your bathroom organized and pretty.
Shelves & Ladders
Shelves and ladders are some of the easiest ways to add storage and style without taking up floor space. From rustic floating shelves to sleek ladder designs, these ideas will keep your bathroom organized and beautiful.
DIY Floating Shelves
Add both charm and function with these DIY floating shelves from Home Depot. The simple step-by-step tutorial walks you through how to install sturdy shelves that look high-end but cost very little to make. Style them with plants, jars, or rolled towels for an easy way to add warmth and storage to your bathroom walls.
Budget Friendly Wall Shelves
Go visit Amaryllis at ‘Oh Oh Blog’ for these easy DIY shelves that look anything but DIY… These have a modern, yet warm feeling to them, and I can think of two places right now where these would look great and be extremely helpful bathroom storage!
Storage Ladder with Baskets
Love this DIY storage ladder from Jenn at ‘Clean and Scentsible’. Not only is this project totally doable, she saved over $500 bucks from the one that inspired her! (And she even tells you where to get those cute wire baskets!)
Sotheby’s fourth-floor Breuer galleries, featuring Gustav Klimt’s ‘Blooming Meadow (Blumenwiese)’, ‘Portrait of Elisabeth Lederer (Bildnis Elisabeth Lederer)’ and ‘Waldabhang bei Unterach am Attersee (Forest Slope in Unterach on the Attersee)’, from The Leonard A. Lauder Collection [left to right]. photograph by Stefan Ruiz, courtesy Sotheby’s
Featured Artworks
The galleries showcase an impressive collection of artworks, including Gustav Klimt’s notable pieces. The collection is a testament to the artist’s skill and craftsmanship, with each piece offering a unique perspective on his style and technique.
The Leonard A. Lauder Collection
The Leonard A. Lauder Collection is a renowned collection of modern and contemporary art. The collection features a wide range of artworks, including paintings, sculptures, and other pieces by notable artists. The collection is a significant part of Sotheby’s offerings, providing a unique opportunity for art enthusiasts to experience some of the world’s most iconic artworks.
Conclusion
In conclusion, Sotheby’s fourth-floor Breuer galleries offer a unique and enriching experience for art enthusiasts. With its impressive collection of artworks, including Gustav Klimt’s notable pieces, the galleries provide a fascinating glimpse into the world of modern and contemporary art. The Leonard A. Lauder Collection is a significant part of the galleries’ offerings, and its inclusion adds to the overall value and appeal of the exhibition. Whether you are an art enthusiast or simply looking for a unique cultural experience, Sotheby’s Breuer galleries are definitely worth a visit.
Medník House by Päivä Architekti extends a century-old dwelling on a rocky slope above Czech Republic‘s Sázava River. The new volume sits at the meeting point of forest and garden, shaped by the wedge-like terrain and framed by mature trees. From the garden, the renovated structure aligns with long views toward the valley and the top of Medník Hill, which serves to maintain the sense of openness that defines the character of the site.
The addition takes the form of a freestanding studio linked to the original home by a covered terrace. This connecting space wraps around an existing oak, allowing the tree to remain an anchor in the composition. A covered walkway stretches toward the garden, softening the transition between interior and landscape and extending the rhythm of daily movement outdoors.
Inside, the studio of Päivä Architekti’s Medník House unfolds as an open, double-height volume flooded with daylight through sliding glass walls that face the valley. A compact gallery hangs within the space, forming a quiet retreat above the work area. The restrained geometry of the new building mirrors the morphology of the original house, though expressed by the architects through a more contemporary lens.
The project’s structural logic reflects both craftsmanship and practicality. Resting on micropile foundations installed by specialists, the steel frame and timber superstructure were completed by the client through self-construction. This approach lends the house a sense of authorship, and an intimate understanding of how the building meets the ground and receives light.
Exterior and Interior Finishes
Externally, the extension is wrapped in tanned larch cladding whose surface will continue to weather and deepen in tone, echoing the surrounding trunks. The interior finishes in spruce bioboard convey warmth and precision, with integrated storage and furniture that sustain the clarity of the plan.
Päivä Architekti’s Medník House extends a century-old dwelling in the Czech Republic
Site and Context
the new volume stands at the edge of forest and garden in Luka pod Medníkem
The new volume is situated at the edge of forest and garden in Luka pod Medníkem, creating a seamless transition between the natural landscape and the built environment.
a covered terrace connects the existing home to the new studio space
Studio Space
sliding glass walls open the studio toward the valley and Medník Hill
The studio space is designed to maximize natural light and provide a seamless connection to the surrounding landscape.
The Studio Museum in Harlem officially opens its purpose-built new home to the public on Saturday, November 15th. Today, November 6th, designboom attended a preview of the building and heard presentations from Studio Museum team Thelma Golden and Raymond J. McGuire, along with architects Pascale Sablan and Erin Flynn.
From the moment visitors approach the new museum on West 125th Street in New York, the design signals the meeting of its mission with its urban context. The project replaces the earlier commercial structure adapted in 1982 for the institution, and marks the first time the museum has had a home created expressly for its program.
The Spirit of the Museum
Raymond J. McGuire, Chairman of the Board of Trustees of the Studio Museum in Harlem, describes the spirit of the museum and its programming: ‘This building says to the world, Harlem matters. Black art matters. Black institutions matter.
‘It will stand as a lighthouse on 125th Street. A space where creativity and community meet, where young people can see themselves reflected, and orders of African descent can continue to shape our history. This new chapter was not inevitable. It was earned through decades of vision, stewardship and belief.’
Architect Pascale Sablan Draws from the Streets of Harlem
The Studio Museum in Harlem intentionally draws from the ‘street, the stage, the sanctuary, and the stoop.’ Across the city, these are familiar typologies of gathering, expression and belonging. Architect Pascale Sablan of Adjaye Associates echoed this when she said: ‘It is our hope that every surface, every light-filled space, and every moment of this building will speak to you of this mission.’ The museum occupies the same footprint as the earlier museum but is re-imagined for the twenty-first century.
At street level a double-height window opens the museum to the sidewalk: visitors can sense daylight passing through the gallery interior, while the broad frontage activates the pedestrian flow of Harlem. The facade, composed of dark-grey precast concrete with sand-blasted and polished finishes, interleaves glass and bronze-toned curtain wall with vertical fins. This material palette references the masonry architecture of the neighborhood while giving the building a refined presence.
Inside, the ‘reverse stoop’ greets visitors as a stepped area leading downward from the street into the museum lobby. The architects describe this gesture as an invitation to connect. It’s a spatial threshold that brings visitors from the city into the institution with little impedance.
The Studio Museum in Harlem offers 82,000 square feet of interior space, which represents an increase of more than fifty percent in exhibition area and almost sixty percent more public spaces. The gallery volumes are laid out across multiple floors: second and third floors host exhibition galleries and the education center; the fourth floor accommodates studios for the Artist-in-Residence program and a reading room; the fifth floor offers flexible event space; the roof terrace on the sixth floor opens toward sweeping views of Harlem and beyond.
Vertical circulation is anchored by a monumental stair clad in terrazzo, located in the central vertical gallery and connecting the lower level to the fourth floor. Corridor galleries and stairs from the fourth floor to the roof are executed in precast concrete with satin-brass railings, aligning material consistency throughout the building.
Public spaces are designed to feel porous. The café at the lower level, the welcome centre, the lecture and performance hall, retail, and project spaces are all intertwined with exhibition areas. The design teams emphasized accessibility, with two elevators (one shared visitor and freight) and barrier-free routes throughout. Thelma Golden, Ford Foundation Director and Chief Curator of the Studio Museum in Harlem, notes: ‘this building is a reflection of all that‘ — the institution’s mission, the community’s energy, the artists’ aspirations.
In her remarks at the preview event, Erin Flynn, RA, LEED AP, Partner, Cooper Robertson, emphasizes: ‘we aim to cultivate a sense of engagement among the many different users of the building… Whether someone is discovering the art, participating in educational programs, creating in the artist studios, or simply enjoying a coffee.’
Our small mudroom is finally complete, and the before-and-after is incredible. With custom cabinetry, a bench seat, and smart storage, this once-forgotten space is now one of the most functional spots in our home.
When I look back at the before photos of this small space, I can’t believe how underutilized it was. That front closet became a catchall for everything—bags, shoes, coats, and even our internet equipment—and it still never really worked. The closet door constantly collided with the front door, which was a total nightmare every time people came in or out.
Once I landed on the idea of custom built-ins in the family room, everything came together so quickly. I sketched the plan in late August, and now here we are in November with a fully finished mudroom! I’m honestly still pinching myself that it came together so fast. This transformation has completely changed how our family uses this little corner of our home, and I couldn’t be more excited to finally share the reveal with you.
Catch Up on the Mudroom Project
If you’re just joining in, this reveal is actually the fourth post in our mudroom series. Here’s everything that came before:
Now it’s time for the fun part—the final reveal!
The Right Side: Marble Drop Zone & Cane Cabinets
On the far right side of the wall, we carved out one of my favorite spots in the entire mudroom. This little drop zone has both beauty and function, and it’s already making our everyday routines so much smoother.
You’ll also notice that we now have a window streaming in natural light! That window was originally inside the front closet, and it’s nice that it’s now visible in the room.
Marble Countertop
I knew from the start that I wanted marble here. Since this isn’t a wet area (no sink or water splashes to worry about), it felt like the perfect place to bring in a durable but beautiful stone. A friend of mine is a countertop fabricator, and he set aside a remnant just for us. Reach out if you want his information.
With marble, you usually need to buy an entire slab. He cut the main piece for our mudroom, and then used the extras to make a few smaller items—like a marble windowsill, two cutting board-style trays, and even a little piece that Finn now uses on his desk in the basement. Nothing went to waste, and now I get to enjoy marble in more than one room of our home!
Hidden Tech Storage
Beneath the marble, the cabinets are vented cane-front doors, which allow airflow while hiding all of our internet equipment, routers, and Sonos speakers. Before, these cords and boxes were piled into our old coat closet, and now they’re neatly tucked away but still easy to access. It’s such a huge improvement visually, and the cane adds warmth and texture to balance the painted cabinetry.
Open Shelves & Styling
Above the countertop, we added floating wood shelves that are lit by a black picture light. These shelves are the perfect spot for decorative accents, mail, and keys. Right now, I have a plant sitting on the marble windowsill, a framed family photo, and even a framed newspaper clipping that we discovered tucked into the walls during demo. I love showcasing a piece of our home’s history right when you walk in the door.
The Bench & Drawers
The window was always staying, so designing a built-in bench beneath it just made sense. Now we have a practical spot to sit down and take shoes on and off, and guests can do the same when they come in the door.
Deep Storage Drawers
Below the bench, two large drawers hold our bulkier shoes and boots. I lined the bottoms to protect the wood, so even if things get wet or muddy, clean-up is simple. These drawers have already become one of the hardest-working parts of the mudroom.
Custom Cushion
To finish it off, I had a custom cushion made from PatioLane. I’ve used their cushions throughout our home—on the kitchen breakfast nook bench and the basement reading nook—and I love how simple their process is. You just plug in your measurements online, choose a fabric, and they ship a perfectly tailored cushion.
The Lockers & Tall Cabinets
This wall of lockers is hands down the most transformative part of the entire mudroom. Before, we had bags piled in the kitchen, coats stuffed into a tiny
Located in Astoria, New York, Wildflower Studios is a new vertical film production complex designed by Bjarke Ingels Group. The development is led by Robert De Niro and establishes a new urban typology for filmmaking in Queens’s dense industrial landscape. Film studios are traditionally organized across expansive ground-level lots, each stage accessed directly by truck. In Queens, where space is constrained, Bjarke Ingels Group condensed that familiar model into a vertical arrangement — stacking sound stages and production spaces to form what the architects describe as a ‘studio village.’ The design rethinks the logistics of production, integrating movement, delivery, and collaboration within a reduced footprint that reflects the spatial realities of the city. See designboom’s previous coverage here!
The program is composed of eleven studio modules, each containing a large-span stage, vertical transport, and support spaces including dressing rooms and scene shops. Organized in two-story rows within a single volume, the modules are connected by a central spine that acts as the building’s internal street. This shared corridor forms the social core of the complex, linking stages with offices and communal terraces while drawing daylight deep into the structure. One entire floor of Wildflower Studios is dedicated to office and production support, while additional spaces like cafés and fitness areas encourage collaboration among actors, writers, and technical crews. This hybrid environment creates a working community among the practical infrastructure of filmmaking. Wildflower Studios rises in Astoria, Queens as a new vertical model for film production
A Floating Village in Astoria
Clad in precast concrete panels, the 145-foot-tall building changes character as sunlight shifts across its angled facade. Two open-air terraces cut into the envelope, offering framed views toward the Manhattan skyline and a direct connection to the waterfront. The roof supports a 150,000-square-foot solar array, supplying power and demonstrating the project’s environmental intent. BIG lifts the structure above the floodplain, allowing service vehicles to operate beneath the building and freeing the street edge for public access. The site design extends this openness with a walkway along the creek, creating a connection between the industrial block and the riverfront. The overall form is described by the architects as a ‘floating village.’ BIG reimagines the traditional horizontal sound stage as a compact stack for the city the modules form a dense production village tailored to the spatial constraints of New York City the building integrates cafés and lounges to encourage collaboration among production teams
Conclusion
In conclusion, Wildflower Studios is a revolutionary film production complex that redefines the traditional model of film studios. With its vertical arrangement, the complex provides a unique and efficient way of producing films, while also promoting collaboration and community among production teams. The building’s design, led by Bjarke Ingels Group, is a testament to innovative architecture and sustainable design. As a ‘floating village’ in Astoria, Wildflower Studios sets a new standard for film production in New York City, and its impact will be felt for years to come.
Introduction to the Crouching Tiger, Hidden Dragon Art Museum
At a bend along the mountain road in Jiuxian, China, the Crouching Tiger, Hidden Dragon Art Museum by Kong Xiangwei Studio occupies a narrow site shaded by oaks. The building marks the entrance to
Introduction to the Reina Sofía Auditorium Transformation
In Madrid, the Museo Nacional Centro de Arte Reina Sofía inaugurates the former auditorium in the Sabatini building, now reimagined by BACH as a contemporary cinema and performance hall. The 520-square-meter project reinterprets the geometry and atmosphere of the 1987 design by Jaume Bach and Gabriel Mora, introducing new acoustic and visual technologies.
Jaume Bach, Anna & Eugeni Bach retain the two defining triangular geometries of the original structure, including the angular projection booth that organizes circulation at the entrance and the suspended triangle above the stage that once functioned as a reverberation device. The latter element is now reborn as a large acoustic screen concealing the central speaker. Meanwhile, the translation booths, once essential, are now obsolete and removed, and the slope of the seating is increased to improve sightlines and audience experience.
all images by Eugeni Bach
Red-and-Blue Hues Saturate the Renewed Reina Sofía Auditorium
Materially, the intervention deepens the atmospheric qualities of the hall. The vaulted ceiling, formerly neutral, is now painted a deep blue, a ‘night sky’ that envelops the space, while the floors and walls are dressed in shades of red that recall the classical tradition of theater interiors, from Erik Gunnar Asplund’s Skandia Cinema in Stockholm to Madrid’s own Cine Doré. Between these dominant hues, the window niches become softly illuminated volumes, their absorbent surfaces evoking the sensation of looking outward, as if the audience were seated beneath an open, starlit sky.
In the entrance lobby, the Barcelona-based architects introduce a triangular storage unit that echoes the projection booth’s form and subtly directs circulation toward the rear of the hall. They preserve the existing Serliana, a characteristic arched composition, and unite all surrounding surfaces in a single, velvety red tone. Behind heavy curtains, the new cinema is revealed, its color palette and spatial composition conjuring cinematic worlds that stretch from Luis Buñuel and Pedro Almodóvar to David Lynch and Aki Kaurismäki.
the Museo Nacional Centro de Arte Reina Sofía inaugurates the former auditorium in the Sabatini building
An 18th-Century Space in Madrid Reawakens
Located within the 18th-century General Hospital of Madrid, an iconic neoclassical structure by José de Hermosilla and Francisco Sabatini, the Reina Sofía has undergone successive transformations since its conversion into a museum in 1992 and its expansion in 2005. The original auditorium of the Sabatini building, designed by Bach and Mora, had long served as the venue for lectures and events. With the construction of two new auditoriums in the expansion, the institution was able to reconceive this earlier hall as a dedicated cinema. Through layering of form, color, and memory, BACH revamps the Reina Sofía’s original auditorium without erasing its past.
the space is reimagined by BACH as a contemporary cinema and performance hall
reinterpreting the geometry and atmosphere of the 1987 design by Jaume Bach and Gabriel Mora
Among the 19th-century rowhouses of Bedford Street in New York‘s West Village, a unique landmark stands out. The city’s narrowest townhouse, measuring just 8 feet, 7 inches wide, has been a subject of fascination for many. Fronted by a three-story brick facade, the unusual home at 75 1/2 Bedford Street was built in 1873. Now listed by Sotheby’s International Realty, the renovated residence distills a century and a half of adaptation into a vertical sequence of precisely composed domestic spaces.
The townhouse’s slender proportions heighten visitors’ sense of spatial awareness. Sunlight and circulation take precedence over volume. A Dutch door opens directly into the kitchen, which shows custom millwork and Italian marble surfaces. Floor-to-ceiling French doors extend the interior toward a small, landscaped garden, creating a rare moment of openness amid the dense urban fabric of lower Manhattan.
Inside, the plan unfolds as a continuous stair sequence that links intimate rooms arranged along the narrow footprint. Each level is anchored by working wood-burning fireplaces framed in travertine. Oak floors run the length of the home, emphasizing its linear geometry, while a large skylight floods the upper story with daylight that filters through the stairwell.
The primary suite on the second level balances simplicity and comfort. A small balcony overlooks the rear garden, and the bathroom, finished in mosaic tile with marble sinks and Lefroy Brooks fixtures, shows the same attention to scale and proportion that guides the rest of the renovation. All throughout, modern interventions remain secondary to the townhouse’s historic structure, and create a sense of continuity between eras.
75 1/2 Bedford Street is recognized as NYC’s narrowest townhouse at just under nine feet wide
The Star-Studded Past of NYC’s Narrowest Townhouse
The narrow house has long captured the imagination of the city’s creative community. In the 1920s, it was occupied by a group of actors performing at the nearby Cherry Lane Theater, among them Cary Grant and John Barrymore. Anthropologist Margaret Mead, cartoonist William Steig, and poet Edna St. Vincent Millay — whose residency gives the building its nickname, the Millay House — each left their imprint on its history. The modest scale, paired with its setting along one of the West Village’s most intact blocks, has made it a small but lasting emblem of residential architecture in New York.
the three-story, 1873-built home stands on one of the most historic blocks in the West Village
a Dutch door opens directly into a marble-lined kitchen that connects to a small garden
the primary suite includes a balcony and a mosaic-tiled bathroom
Conclusion
In conclusion, the narrowest townhouse in NYC, located at 75 1/2 Bedford Street, is a unique and fascinating piece of residential architecture. With its rich history, stunning renovation, and prime location in the West Village, this townhouse is a true gem. From its slender proportions to its beautifully designed interior, every aspect of this home is a testament to the power of creative and thoughtful design. Whether you’re an architecture enthusiast, a history buff, or simply someone who appreciates the beauty of a well-crafted home, this townhouse is sure to captivate and inspire.
Located in Japan‘s Hashima City, this new office by Atelier Nagara Architectural Design Office + Permanent Co. stands with a sculptural rooftop and rises from a calm expanse of rice fields. The rural setting, defined by the steady rhythm of agricultural life and the shifting light from nearby mountains, guided the architects toward a design that honors the beauty of the everyday.
Commissioned as the headquarters for a company engaged in civil engineering and real estate, the office was built as a long-term presence in the community. The design team sought to create an environment that encourages awareness of the subtle qualities of its surroundings.
A Rippling Rooftop by Atelier Nagara + Permanent Co.
The office in Hashima is recognized by its rippling rooftop, designed by Atelier Nagara and Permanent Co. Rising sharply toward the east, its bold incline cuts a sharp silhouette against the horizon before tapering down to meet the ground. This shifting geometry draws the eye along its gentle undulation, allowing the light of the day and the colors of the sky to play across its surface. The result is an architectural form that enhances, rather than competes with, the landscape’s quiet drama.
Rainwater and shadow animate the roof’s surface, drawing attention to the changing conditions of the environment. In this way, the roof becomes both a shelter and an instrument of perception, heightening awareness of natural rhythms often overlooked each day.
the Office in Hashima stands amid rice fields in Gifu Prefecture
Breezy Workspaces Between Inside and Out
The spatial composition extends this awareness inward. Beneath the raised roofline, a tall volume holds the entrance and meeting rooms, opening the interior to views of the fields. Courtyards and verandas are positioned strategically beneath the lower eaves, creating a sequence of thresholds that mediate between indoors and outdoors.
Small pauses in the plan — areas with stones, plants, or filtered light — encourage moments of stillness. These subtle interventions dissolve the boundary between architecture and landscape, allowing the building to feel both grounded and open. The interiors, though refined, carry traces of the outside world through their materials and arrangement.
The southern elevation introduces large openings shaded by low eaves. This careful balance between openness and protection allows sunlight to filter deep into the rooms while maintaining a sense of intimacy with the garden. Wind moves freely through the structure, carrying with it the scents and sounds of the surrounding fields.
Atelier Nagara designed the building as a headquarters for a civil engineering company
a sharply rising roof defines the building’s distinctive silhouette
the architecture draws attention to subtle shifts in light, air and water
Conclusion
In conclusion, the office in Hashima, designed by Atelier Nagara Architectural Design Office + Permanent Co., is a remarkable example of how architecture can blend seamlessly into its surroundings while still making a bold statement. The rippling rooftop, the breezy workspaces, and the careful attention to natural light and shadow all contribute to a building that not only honors the beauty of the everyday but also enhances the landscape’s quiet drama. This office is a testament to the power of thoughtful design and its ability to create spaces that are both functional and aesthetically pleasing.
