An iconic American mid-century house beautifully designed for modern life
When Paul Savidge and Dan Macey bought the Esherick House, they knew from the start that their new home in Philadelphia carried with it a special sense of responsibility. This is, after all, one of the most influential buildings by mid-century master architect Louis Kahn and certainly the most famous of his residential commissions. Its importance means that it is protected with heritage status, yet this house also happens to be a wonderful place to live, looking out over peaceful gardens and across the woodland beyond. Despite its poetic monumentality, there is a warmth to the interiors that Paul and Dan responded to instantly.
‘We both think it ranks as one of Louis Kahn’s most successful buildings and it really works as a modern house,’ says Paul, a lawyer specialising in the healthcare sector. ‘It feels homely and you never get lost in it.’
Paul, who grew up in Philadelphia, remembers seeing the house as a child, when it made a distinct impression upon him. After many years in other parts of the US, studying and working, he eventually settled back in the city with his partner Dan, a food stylist and writer. The couple noticed that the Esherick House had surprisingly failed to sell at auction and had languished on the market. So, eventually, they decided to take a look themselves.
‘The sale was being talked about in the media and then, one day, Dan sent me an email at work telling me that the price had been lowered and it would sell for sure,’ says Paul. ‘So we decided to go and see it. A friend of ours, who is a real-estate agent, walked us through the property and we made an offer the next day.’
It is certainly a house of many delights, on a quiet and leafy cul-de-sac in the attractive Chestnut Hill area of the city. The building was commissioned in 1959 by a local bookshop owner, Margaret Esherick, who wanted a house suited to the needs and wishes of a single woman. Louis was a good friend of her uncle, the sculptor and woodworker Wharton Esherick, who was also based in Pennsylvania. The architect was persuaded to design the house, which was one of the first to be built along the street and was completed in 1961.
The architect designed the one-bedroom house in a way that was tailored to Margaret’s needs, yet also responded to the setting with an indoor-outdoor relationship. Largely made of concrete block coated in stucco, the house initially appears rectilinear and uniform, yet Louis characteristically subverted geometry and expectation with constant architectural surprises. The front door is off centre, with other subtle shifts in symmetry and volume carried through the house.
At the same time, the building is beautifully crafted, with natural textures and materials introducing an organic sense of warmth throughout. The generously scaled sitting room at one end of the house is double height, with banks of glass looking out over the woods. And fitted bookcases climb the more enclosed elevation, which faces onto the street. Beyond the staircase and the dining room is the original kitchen, the one that Wharton designed and made for his niece, creating a unique space with a sculptural quality all of its own. Upstairs, many original features have been faithfully kept as they were intended, including a hidden bath in the en-suite bathroom that conveniently disappears under a pull-out bench seat when not in use.
Working with the architecture team at K Yoder Design and with Louise Cohen Interiors – both local firms – to preserve and restore this iconic building, Paul and Dan consulted the Philadelphia Historical Commission on the modest changes they wished to make. Chief among these, particularly given Dan’s profession, was the need for a modern kitchen, although the couple did not want to harm Wharton’s original design in any way. The solution was to convert a utility room alongside it into a fully functioning back kitchen, complete with all the necessary 21st-century appliances.
Elsewhere, the focus was on minor restoration projects and furnishing the house in a sympathetic mid-centurymodern style. Paul and Dan’s carefully curated selection of period and contemporary furniture feels perfectly in keeping, yet offers comfort as well as character.
Sadly, Margaret was able to enjoy the house for only a brief time before pneumonia led to an untimely death when she was in her early forties. But Paul and Dan have been able to both savour and protect her legacy, along with that of her chosen architect.
‘We can’t take any credit for the house, but we do consider ourselves good stewards,’ explains Paul. ‘We are very committed to it and we would say that it has changed our lives for the better. We do feel the responsibility, but the setting is lovely and we enjoy being here. It’s such a peaceful, restful place to read or write, but also a great place for a party. The trick is to just find the time to really make the most of it.’
K Yoder Design: kyoderdesign.com | Louise Cohen Interiors: lcoheninteriors.com | For more information on the Esherick House, see ‘The Iconic American House’ by Dominic Bradbury and Richard Powers (Thames & Hudson, £50)
Richard Powers1/13Louis Kahn subverted geometry and expectations to create a building characterised by architectural surprises, as can be seen from this side of the house with its irregular windows and unusual chimney. A pale acrylic sculpture by the American artist David Savage stands out against the gravelled forecourt.
Richard Powers2/13Louis Kahn collaborated with landscape architect Frederick WG Peck to create a garden that works in harmony with the house. The Sixties outdoor furniture is by Richard Schultz.
Richard Powers3/13At one end of the dining room, ‘Wassily’ chairs by Marcel Breuer partner a Baker Furniture table, where a Fifties chess board is set up. The sculpture in the window is by Peter Pellegrino, best known as a balloonist and technical advisor on the 1956 film Around the World in 80 Days.
Richard Powers4/13Below the mezzanine, a trio of Wharton Esherick wood-block prints hang above a table by Pennsylvania-based furniture maker Bok Read and a pair of contemporary armchairs. In the centre of the double-height space, two Seventies Pace Collection sofas and a G Plan coffee table are arranged on a contemporary rug.
Richard Powers5/13The Bok Read-designed walnut mantelshelf showcases a ‘Sonambient’ sculpture by Harry Bertoia and an oil painting by the artist Ethel Carter, who is Dan’s aunt.
Richard Powers6/13The Fifties Knoll desk is teamed with a round-back Allan Gould ‘Compass’ chair and a leather Hans J Wegner armchair beside the Louis Kahn-designed bookcase.
Richard Powers7/13Wharton Esherick’s design, preserved and restored by the owners, is complemented by a pair of his wooden stools acquired at auction, which used to belong to his son Peter.
Richard Powers8/13Displayed on a folk-art stool, the moulded plywood leg splint is Charles and Ray Eames’ notable Second World War design.
Richard Powers9/13Located at the centre of the house and made from the same apitong wood as the rest of the joinery in the house, this staircase leads to the mezzanine landing and the bedroom suite beyond.
richard@richardpowers.co.uk10/13A Herman Miller bench stands at the foot of the bed, which is another William Hinn design.
Richard Powers11/13The Josef Albers-style painting, above a Swedish Fifties credenza by William Hinn, can be admired from the Sixties Dutch daybed, which is partnered by a vintage metal arc light.
Richard Powers12/13A Johnny Friedlaender painting hangs over the fireplace beside the bath, which is concealed by a bench seat when not in use.
Richard Powers13/13For more information on the Esherick House - and dozens of other masterpieces of American domestic architecture - see The Iconic American House by Dominic Bradbury and Richard Powers (Thames & Hudson, £50).
