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Austerity Not Welcome

Warming up an all-white Edwardian with accents from Portugal, Morocco, and Pakistan. 

Eight-year-old Kenza Hinnach does homework and plays in this cozy attic nook. The stairs lead to a west-facing deck.

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The kitchen island is covered with antique Portuguese tiles dating from 1890. The chalkboard wall is usually filled with Kenza’s drawings.

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Harry, one of the family’s two Tonkinese cats, lounges on a Hans Wegner Halyard chair. The photograph hanging above is by David Burdeny.

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The entryway holds a reproduction Biedermeier bench from Battersea. Reflected in the mirror is a painting by Joan Miró that Stacey Hinnach discovered while combing through the basement of Christo- pher Clark Fine Art in Union Square.

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The dome light in the sun-flooded dining room is from March; the mahogany cabinet is by Paul Frankl.

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The 100-year-old rug kicked off the whole bedroom,” says designer Amy Kehoe. ”It’s an homage to the Old World.” The couch is by T.H. Robsjohn-Gibbings, and the blue-and- ream wall covering is by William Morris.

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Stacey found this large-scale William Nichols painting at CK Contemporary, an art gallery in Union Square.

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The Porter Teleo hand-painted wall covering in the guest bedroom is complemented by a small Syrian inlaid table.

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“We really dialed up the romantic tone” in the study, says Kehoe—the plum-painted room is furnished with antique art and a custom daybed.

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Tech workers are no strangers to the concept of improvement through iteration. So when Twitter software engineer Yassine Hinnach and his wife, speech therapist Stacey Hinnach, bought this Cole Valley Edwardian in 2012, they didn’t flinch from making major changes. Although the house had been recently renovated, it was still suffering from some beta version blues.

“The Edwardian facade was amazing, but the interior had been completely modernized,” says Stacey. The bare walls, 10-foot ceilings, and empty floors had a whitewashed newness that was at odds with the family’s easy-going nature. “We have an eight-year-old and two cats,” says Stacey. “We’re not a formal family.” So she called Amy Kehoe and Todd Nickey of the Los Angeles–based design firm Nickey Kehoe, whose work she had dog-eared in Domino years earlier. “Our intention was to take a crisp, antiseptic renovation and restore some of the old character,” says Kehoe.

That meant skillfully muffling the home’s slick modernism. The white kitchen island was clad in 140 antique Portuguese tiles. Kehoe found side tables swathed in old newsprint for the study; Stacey decked the walls with vintage book covers and antique lithographs. The gleaming wood floors were covered in 100-year-old woven rugs from the markets of Marrakesh, where Yassine grew up.

Throughout, Kehoe and Stacey boldly mixed patterns and textures to create what Kehoe calls “ta-da moments.” In the bedroom, a Pakistani rug is paired with dotted curtains, a striped T.H. Robsjohn-Gibbings sofa, and William Morris wallpaper patterned with rabbits and birds. The result is harmonious rather than chaotic; lived-in, but not precious. “Sometimes furniture that looks amazing has a ‘don’t come near me’ effect,” says Kehoe. “Here, we found a balance in artfulness and approachability.”


Originally published in the May issue of San Francisco

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