IF YOU are looking for a house plan that has flexibility, convenience, and outstanding modern design, with a touch of Old South charm thrown in for good measure—then this is for you. Still another point in its favor is economy of construction.

The room designated as a den is so situated that it can be used as a den, dining room or third bedroom, according to the size and activities of your family. If it is used as a den or bedroom, the kitchen end of the long living room serves as a dining area.

For a small family this extra room might double as both dining room and study, depending on the choice and arrangement of the furniture used in it.

The garage is close to the house and is reached through a screened breezeway that also serves the purpose of a porch. This feature of the plan is optional and either the breezeway or both breezeway and garage can be omitted or perhaps built later.

The house is entered in the front through a foyer which eliminates unnecessary traffic through the living room. From this foyer any part of the house may be reached with a minimum of effort. There are two closets close at hand for guests' coats, etc., and another closet for family storage.

Each bedroom has a large closet and an arrangement of doors and windows which provides good wall space for furniture.

This plan provides for one full bathroom and a half bath, which is more than is absolutely necessary, but adds greatly to the convenience of the house.

The kitchen is large and has a lot of cabinet space. There is also room enough for a table for family meals.

The exterior design is most attractive and illustrates the present-day trend in good residential design. The windows are placed in such a way as to add interest. The graceful wrought iron work around the entrance shows the influence of the fine old houses of the Deep South, yet is simple enough in design to be in perfect keeping with this modern home.

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source: The Progressive Farmer – Distinctive Southern Homes | 1950

Gemini AI Rendering

HERE is a house that literally rambles all over the lot—the better to catch the sun and breeze, and to delight the heart of the person who loves the low, spreading type of architecture. It is at home on either a large city lot, a small town or a country estate.

The bedrooms are located so that they have an exposure on three sides, and as much as possible of their outside walls are devoted to windows. 

In most plans the halls are used only as a means for getting from one part of the house to the other. In this plan the hall next to the bedrooms serves a more useful purpose. The small bay makes an ideal sewing or reading nook. The bath is just off this hall.

One of the most attractive features of this plan is the sun room, which can be used as an extra bedroom, den, sitting room or play room. On both ends of this room are storage closets—one a pantry and the other a general storage space.

The living room has been carefully designed with regard for comfort. The furniture is sketched in a typical arrangement but it could be placed in various other ways to suit the taste of the individual. The small alcove off the living room makes an excellent spot for a piano, desk, or game table.

The dining room is average in size and has good light and circulation of air.

The kitchen, with its small dining area at one end, is conveniently and attractively arranged. In the hall next to the kitchen is a closet containing a small water heater. It should be noted that this is one of two heaters in the house. The other is in the closet next to the bathroom.

The garage is connected to the house by a screened breezeway which has a built-in oven or barbecue pit.

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source: The Progressive Farmer – Distinctive Southern Homes | 1950

Gemini AI Rendering

IN ITS arrangement this house is completely modern and typically American, yet the architectural style is English in influence, giving it an Old World charm and atmosphere. It is constructed of stone and wood siding.

A centrally located foyer leads directly from the front door to the living room, first-floor bedroom and kitchen. The large living room has a fireplace and built-in bookcases at one end and well-arranged windows along the front. Just back of the living room is a large porch which can be used as an outdoor dining or sitting room.

There is a formal dining room conveniently located between the living room and kitchen, but for snacks and family meals there is a built-in booth at one end of the kitchen. Next to the kitchen is a laundry room.

The first-floor bedroom can be used as a family bedroom, guest room or study. The other bedrooms are on the second floor. Each one is large and well ventilated and has ample closet space. There is also good storage space on the second floor.

The plan calls for a full story and a half, but the owner, if he prefers, can arrange with his builder to complete only enough of the second floor to meet his present needs and finish the other rooms on the second floor at some later date. No basement is provided for in the plan, but one can be added if it is required.

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source: The Progressive Farmer – Distinctive Southern Homes | 1950

Gemini AI Rendering

 There is a specific, quiet ceremony that takes place when a new stack of books enters the home library. It’s the process of finding their neighbors—deciding which shelf can handle the weight of their history and which volume should sit beside them to keep the conversation going.

This afternoon, my library grew by three.

I didn't set out to acquire a New York trilogy, but somehow, the city found me. As I cleared a space on the mahogany shelves, I realized I hadn't just bought books; I’d bought three different lenses through which to view the same restless island.

I started with "Old New York in Early Photographs." Holding Mary Black’s collection feels like holding a physical weight of time. These aren't just pictures; they are evidence. Before the glass towers, there were drug brokers like John Peake and carpenters working in wooden shops. There is a haunting clarity to these prints from the 1800s—a reminder that the "modern" city is built directly on top of the ghosts of 196 specific, frozen moments.

Next to it, I placed "Celluloid Skyline." If the first book is the city’s bones, this is its soul. James Sanders captures the New York that was built on backlots and soundstages—the city of shadows, fedoras, and impossible romance. It’s the perfect bridge between reality and the silver screen, sitting right where my architecture section meets my film history.

And then, there’s "Bogey’s Baby." Every library needs a bit of fire, and Lauren Bacall provides it. Seeing her face on the cover, tucked into the collection, feels like the final piece of the puzzle. She is the human element of that cinematic skyline—the sharp wit and the "look" that defined an era of New York cool.

As I stepped back to look at them settled into their new home, the room felt a little denser, a little deeper. The light from the reading lamp hit the spine of the Black volume, and for a second, the 1850s didn't feel quite so far away.

The shelves are full, but as any collector knows, there is always room for one more story.

 It started as a simple errand, the kind where you tell yourself you’re just "looking," but the moment I saw that bold, serif typeface peeking out from the shelf, I knew the "looking" was over. Bringing home Lloyd Goodrich’s Edward Hopper felt less like a purchase and more like a quiet homecoming.

As I set it down on my desk, the room seemed to settle into a different rhythm. There’s something about a large-format art book that demands you stop rushing. It’s too heavy to read while multitasking, and too beautiful to ignore.

I sat there for a moment, just looking at the cover. Nighthawks. It’s a painting we’ve all seen a thousand times, but seeing it printed here, in the context of Goodrich’s deep dive, felt different. I found myself tracing the curve of the glass diner window with my eyes, thinking about how Hopper managed to make a street corner feel like a cathedral of the mundane.

I opened the first few pages and let the smell of old paper and high-quality ink take over. It’s a narrative of 20th-century America told in shadows and sharp angles. I wasn't just looking at pictures; I was walking through empty New York theaters and standing on the porches of Victorian houses in Cape Cod, feeling that specific brand of "Hopper light" that seems to freeze time itself.

As I glanced from the book to my laptop, and then to the painting on my own wall, I realized the irony. My laptop represents the constant hum of the 2026 digital hive—notifications, pings, and endless connection. But Hopper? Hopper represents the internal. He’s the patron saint of the person sitting in the cafe, surrounded by people, yet perfectly alone with their own thoughts.

Goodrich writes about Hopper not just as a painter, but as an observer who refused to simplify the world. Reading it tonight, I felt a nudge to do the same. I looked at the way the lamp on my desk threw a long, dramatic shadow across the floor, or how the sunset outside was turning the room a dusty, cinematic orange.

This book isn't just a collection of plates for my coffee table. It’s a manual on how to see. It’s a reminder that there is a profound, quiet beauty in the gaps between our busy moments—if only we are still enough to notice them.

Tonight, the air in my studio feels a little different. There’s a specific kind of quiet that settles in when you finally hold something you’ve been chasing across digital auctions and collector circles for years. Today, that chase ended.

I finally added an original 1991 The Rocketeer press kit to my collection.

As I laid out the glossy stills on my desk—the crisp blacks and whites, the vibrant colors of a bygone Hollywood era—it hit me why this film has always held such a grip on my heart.

The Rocketeer represents a rare moment in cinema. It’s a snapshot of a time when Hollywood still believed in unabashed optimism. It’s a world of heroes, of progress, and the soaring belief that the future isn't something to fear, but something to build.

In the kit, you see the mechanical beauty of the jetpack and the Art Deco lines of the late '30s. It reminds me of the ambition that drove figures like Howard Hughes. Hughes has always fascinated me—that restless, brilliant, and almost dangerously visionary mind. He was a man who saw limits as mere suggestions. That mix of brilliance and chaos feels deeply human, and holding these production photos brings that historical friction to life.

And then, there’s Jennifer Connelly.

In these stills, she is the embodiment of classic cinema. There is an elegance to her presence in this film that feels rare in the modern age—a timelessness that seems to stop the clock every time she’s on screen. Seeing her printed on this vintage cardstock, rather than a glowing screen, makes that "Golden Age" magic feel tangible.

Holding this press kit, I realized I’m not just looking at paper and ink. I’m touching the ambition of flight, both literal and metaphorical.

We collect to stay close to the stories that shaped us. These artifacts are anchors; they keep us connected to the versions of the world we fell in love with when we first saw the light hit the theater screen.

"This is the dream of flight—the idea that we can rise above, if only we have the courage to strap on the pack."