TOApproaching Stuart Granen's house is an unexpected experience. Located on an extraordinary alley in the industrial heart of Chicago, this former 20th century coal factory quietly contrasts with its surroundings. Covered in climbing ivy and raw steel, the concrete structure, hidden in plain sight, radiates an original and pristine beauty. It is an urban sanctuary that, from the outside, offers little distance. But when you step through the motorized roll-up door and step inside, a whole new world emerges: a world designed with a deep respect and love for thought, history, and imperfection.
Granen, known as one of the world's leading dealers in architectural artifacts, has been collecting antiques and rarities for decades across continents and centuries. His store, a 37,000-square-foot former school of architectural artifacts, fully displays the greatness of his business. But Granen's house, on the other hand, offers an intimate view of his personal world, shaped by a deep love of simplicity, decadence and the art of living with objects that transport the past.
“The first time I saw the building it was in ruins,” Granen recalls with a laugh. “Dirty floors, broken glass, construction work. But I immediately saw its beauty. I imagine it was still an old factory, although it had been cleaned and modernized. He left the walls, floors and ceilings virtually intact, allowing the factory's original patina to remain. “I don't want to take away from its character,” he explains.
Upon entering the house, the view is clear. It is a paradise of raw materials, muted colors and subtle textures. The interiors are minimalist yet rich, and each room is decorated with artifacts, curiosities and carefully selected pieces from Granen's travels around the world. Their house lacks traditional art or overly flashy decorations; Instead, it is full of objects that seem to have found their place naturally.
“I'm drawn to unusual or discarded things and want to integrate them effortlessly into my home,” she says. “Nothing too fancy, just fun, friendly pieces.”
It's hard to believe that this place, so peaceful and carefully organized, was once at the heart of an industrial wasteland. “It is now becoming one of Chicago's newest and most vibrant neighborhoods. Although it's funny to think that after all these years surrounded by industry, I suddenly find myself in the middle of a great urban renaissance, I see it as a good thing.
The structure of the house is simple. At 5,000 square feet, including outdoor seating areas, it retains the factory's original proportions. The first floor has three large, bright rooms with iron-framed industrial windows that allow in plenty of natural light. An exterior patio, hidden from view, leads inside the house, creating a feeling of solitude. As for cooking: “I call cooking the 'K Word' because I rarely use it. I travel often and rarely cook at home. My girlfriend insisted on one, so I wore this one. There's good light thanks to the newly made industrial windows and an extra simple sconce above the stove I designed. To the left of the hearth are two small ink drawings that I love for their simplicity and mystery. I also made a kitchen table out of cast stone and thick rope. I bought the chairs from an antique dealer friend in Munich.
The first floor main room has a large iron and wood table from the former Premier Confectionery in Chicago. Granen bought the decorations and equipment from the candy company and acquired 20 similar tables, but kept this one. “There is only a section of chain link fence that has grown through a tree on top of the table. I found it and looked for a simple piece of sculpture. Excrement from an old factory in the town. The row of lamps above the table is an assembly that I made. I bought dozens of individual lights at a baseball field in Cleveland, Ohio, and asked my blacksmith to turn them into lamps. They can move and focus the light onto a table, a piece of art, or directly toward the ceiling. “They are fun and very simple.”
Upstairs, the second floor mirrors the first and adds a spacious terrace off the bedroom where Granen likes to retreat in the warmer months. His bed has a cowhide headboard that he shapes, moistens the hide and wraps it around a wooden frame. The leather trunks to the right of the bed are from the border region of Argentina, where they use cowhide to store and move these trunks.
The furniture and decor reflect Granen's approach to life: spare, utilitarian and deeply personal. “My favorite is always the next one. I've had thousands of favorites over the years.
However, some elements of Granan's house stand out for their importance. Among them are paintings by the late Chicago artist Joe Boudreau. “Joe was a good guy, but he had his demons,” Granen says quietly. “I have some of their pieces and they hold a special place in my heart.”
The color palette of the house is as simple as its decoration. Brown and off-white predominate, a natural extension of the building's original finish. “The floors are old wooden beams, worn from use,” says Granen. “They have taken on this incredible shine over time. The walls are kind of plaster and cement, with beautiful imperfections. I don't want to change it. I think they are as beautiful as any painting I would hang.
For Granen, resisting the temptation to completely renovate the space is key to preserving its character. “I consider myself lucky to have never felt the need to 'fix' the building,” he reflects. “I saw flaws and wear and tear as beauty, not as something to hide or change.”
Styling by Jena Sigala
