People often asked, “How old is the home?”—to the amusement of interior design firm Cleve & Levin. “Because the home had such a traditional feeling, people assumed it was a renovation,” Diane Cleve says.
The queries meant that Cleve had done her job well. The Haleiwa home, by architect Philip White and Nicholson Construction, was brand new. But for an interior design concept, Cleve wanted to “go back to a plantation-era image, and take that essence forward. Not a literal interpretation, but a refined, sophisticated showcase of Hawaiiana,” she says.
Cleve drew from archetypal Hawaiian elements: art, sport, history, geography. At the same time, the house had to support a contemporary lifestyle and people living in a fast, high-tech world.
“The challenge was to bring it all together,” she says. “The house has the latest comforts, appliances, electronics and safety features—they’re integral to its fabric. But you don’t even notice them. When you walk in, all you feel is a very comfortable, traditional home that could’ve been there for 100 years.”
Continuous, easy flow between the outside and inside is Cleve’s interpretation of the Hawaii lifestyle, which is outdoor-based. Plus, an open floor plan caters to contemporary tastes and allows for passive ventilation. “While the home does have central air conditioning, the days you actually need it are very few,” Cleve says. “It’s a very comfortable house.”
Very detailed ceilings are a telltale sign of older, plantation-era homes. To evoke a feeling of history in the newly constructed home, Cleve & Levin paid particular attention to achieving a similar look on the ceiling. The result was tongue-and-groove, all-wood paneling.
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| Blending right in: Pillows with seashell fringe, a sisal rug made from grass, New England-style furniture and a koa surfboard that really works. |
“To define the spaces in an open floor plan, one very effective way is to change the ceiling. Though the floor and space was continuous, you knew when you were leaving the living room or entering the dining room,” Cleve says. Each room bears a different shade of paint; the dining room is covered with a deep gold tone.
Moving downward, Cleve lined key vertical elements with bead board. This inexpensive wall material can be seen in old farmhouses—not just in the Islands, but all over the Mainland as well. “Bead board ties the home to a farming culture, and the carpenter’s touch reflects a great pride in workmanship,” she says.
Keeping in this carpenter’s style of design, Cleve consulted with the architect and came up with the unique-yet-familiar weighted columns. “Not routed or too carved, they’re something a carpenter could do with his own tools,” she says. “They give a feeling of solidity, a sense of permanence, of gravity. They make the dining room a warm place, even though the floor plan is completely open.”
The dining table is a Chinese screen, which reflects the Asian culture and its influence in Hawaii interior design. “We wanted to do something a little different. Not too formal, but rather, approachable,” she says. “The slipcovers don’t go all the way to the floor. By keeping them just off the floor, like a skirt hem, they’re much friendlier and less formal.”
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“Farmhouse detailing on the ceiling, classic bead board, shaped columns and Asian influences impart a sense of permanence and give instant reference to the missionary era.” –Diane Cleve
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Throughout, the materials are natural: cottons, linens and wools. The cottonwood is a renewable wood. The paints are water based and nongaseous. Guests may not notice this degree of detail, but they feel welcome.
“It’s a fabulous house to entertain in,” Cleve says. “It’s comfortable for four people and for 300 people. Some houses take on a kind of life and energy. This house has a very good, positive energy. This creates a feeling of comfort and shelter, whether you’re alone or in a big gathering, and that is quite remarkable.”
