The industrial building, originally used to make charcoal, has been minimally restored and adapted into a stunning home
Marzia NicoliniSun 20 Oct 2024 09.00 EDTShareApproaching Stuart Grannen’s home is an experience in itself, marked by the unexpected. Tucked down an unremarkable alley in the industrial heart of Chicago, this 1900s former charcoal factory stands in quiet contrast to its surroundings. Draped in creeping ivy and raw steel, the concrete structure, hidden in plain sight, exudes an original and raw kind of charm. It’s an urban sanctuary that, from the outside, gives little away. But as you pass through the motorised roll-up door and step inside, a whole new world unfolds – a world crafted with intention, history and a deep respect and love for imperfection.
Grannen, globally known as one of the foremost dealers in architectural artefacts, has spent decades amassing a collection of antiques and rare objects that stretch across continents and centuries. His store, Architectural Artifacts, is housed in a 37,000sqft former school, where the grandiosity of his business is on full display. But Grannen’s home, by contrast, offers an intimate glimpse into his personal world, one shaped by a profound love for simplicity, decay and the art of living with objects that carry a past.
View image in fullscreenThe K Word: Grannen’s ‘rarely used’ kitchen. Photograph: Anders Schonnemann/Living Inside“The building was a wreck the first time I saw it,” Grannen recalls with a laugh. “Dirt floors, broken windows, the works. But I immediately saw its beauty. I could picture it cleaned up, modernised, but still very much an old factory building.” He left the walls, floors and ceilings largely untouched, allowing the factory’s original patina to remain intact. “I didn’t want to strip it of its character,” he explains.
I saw its beauty. I could picture it modernised, but still an old factory building. I didn’t want to lose its characterWalking through the home, that vision is clear. It is a haven of raw materials, muted colours and subtle textures. The interiors are minimalist and yet rich, each room punctuated by carefully curated artefacts, curiosities and pieces from Grannen’s travels around the globe. His home isn’t cluttered with traditional art or overdone shiny furnishings; instead, it is filled with objects that seem to have found their place naturally.
“I’m drawn to things that are unusual or discarded and I like to weave them into my home in a way that feels effortless,” he says. “Nothing too fancy, just fun and friendly pieces.”
It’s hard to believe that this space, so serene and thoughtfully arranged, was once at the heart of an industrial wasteland. “Now, it’s becoming one of Chicago’s newest and most vibrant neighbourhoods. I see it as a good thing, although it’s funny to think that, after all these years of being surrounded by industry, I’m suddenly in the middle of a massive urban revitalisation.”
View image in fullscreenLie in: huge iron-framed windows flood the bedroom with light. Photograph: Anders Schonnemann/Living InsideThe layout of the home is simple. Spread across 5,000sqft, including outdoor living areas, it retains the factory’s original proportions. The first floor features three large, light-filled rooms with iron-framed industrial windows that let in ample natural light. An outdoor courtyard, hidden from view, leads into the house, creating a sense of seclusion. As for the kitchen: “I call the kitchen the ‘K Word’ as I rarely use it. I’m often travelling and rarely cook at home. My girlfriend insisted on one, so I put this in. There is nice light through more newly made industrial windows and additional simple sconce above the stove, which I designed. To the left of the stove are two little ink drawings which I like for their simplicity and mystery. I also designed the kitchen table from cast stone and thick rope. I bought the chairs in Munich from an antiques dealer friend.”
The main room on the first floor contains a massive iron and wood table from the former Premier Candy Company in Chicago. Grannen bought up the candy company’s furnishings and equipment, and got about 20 similar tables, but kept this one. “On top of the table is just part of a chain-link fence that grew through a tree. I found it and saw it for the simple sculptural piece it is. The stools are from an old factory in the city. The row of lights above the table are an assemblage I made. I bought dozens of individual lights from a baseball stadium in Cleveland, Ohio, and had my iron worker make them into a light. They move and can focus light on the table, art work or straight up to the ceiling. They are fun and quite simple.”
Upstairs, the second floor mirrors the first, with the addition of a spacious deck off the bedroom, where Grannen likes to retreat during the warmer months. His bed has a headboard he designed and made from cow hide by wetting the skin and wrapping it around a wood frame. The leather boxes to the right of the bed are from the Frontier region of Argentina, where they use cowhide to make these trunks for storage and moving.
The furniture and decor reflect Grannen’s approach to life – understated, utilitarian and deeply personal. “My favourite piece is always the next one I find. I’ve had thousands of favourites over the years.”
View image in fullscreenDoor man: Stuart Grannen at the helm of his Chicago Charcoal Factory Photograph: Anders Schonnemann/Living InsideStill, a few items in Grannen’s home stand out for their significance. Among them are paintings by the late Chicago artist Joe Boudreau. “Joe was a lovely guy, but he had his demons,” Grannen says quietly. “I have a few of his pieces, and they hold a special place in my heart.”
The house’s palette is as simple as its furnishings. Brown and off-white dominate, a natural extension of the building’s original finishes. “The floors are old wooden beams, worn and beaten by years of use,” Grannen says. “They’ve taken on this incredible glow over time. The walls are a kind of plaster and cement, with beautiful imperfections. I didn’t want to change that. I think they’re just as beautiful as any painting I could hang on them.”
For Grannen, resisting the temptation to fully renovate the space was key to preserving its character. “I consider myself lucky that I didn’t feel the need to ‘fix’ the building,” he reflects. “I saw the flaws and the wear as beauty, not something to be covered up or replaced.”
Styling by Gena Sigala