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How They Pulled It Off: A Reclaimed Wood Countertop at the Heart of a Kitchen Renovation

A slab sourced from a bowling alley in upstate New York makes for a durable, history-filled surface in this Brooklyn home.

The kitchen was designed with off-white cabinets. Touches of wood and saturated reds in the lighting and flooring add  warmth.

Welcome to How They Pulled It Off, where we take a close look at one particularly challenging aspect of a home design and get the nitty-gritty details about how it became a reality.

It’s not every day that you put the wood flooring of a former bowling alley in a residential kitchen—even for architect Lindsey Wikstrom, whose New York–based firm Mattaforma specializes in sustainable sourcing, including using reclaimed and renewable materials. But when clients Laura (an Emmy-award-winning TV writer) and Darryl (a lawyer) connected with her and expressed their interest in using “materials that brought stories with them” for their home in Ditmas Park, Brooklyn, reclaimed wood felt like the right choice. 

The kitchen was designed with off-white cabinets. Touches of wood and saturated reds in the lighting and flooring add  warmth.

The kitchen was designed with off-white cabinets. Touches of wood and saturated reds in the lighting and flooring add  warmth. “We helped them find the right balance of colorful and calm and woody for them,” notes Wikstrom.

Photo by Mattaforma

Laura, Darryl, and their two cats, Gus and Hammy, sought to update their home but keep the quirky, historic detailing that made it feel lived-in and comforting. The duplex takes up two floors of a three-story wood-frame home originally built as a single-family, Victorian-style residence in the early 1900s. Over time, the house was converted into two units: one on the ground floor (which would remain untouched by Wikstrom) and a second unit on the second and third floors that was the focus of the renovation.

The three-story home in Brooklyn's suburban Ditmas Park neighborhood was built in the early 1900s, and its traditional layout and historic detailing like original parquet flooring  with decorative inlays was typical of the time.

The three-story home in Brooklyn’s suburban Ditmas Park neighborhood was built in the early 1900s, and its traditional layout and historic detailing like original parquet flooring with decorative inlays was typical of the time.

Photo by Mattaforma

Wikstrom described the unit’s existing condition as “very outdated” and inefficient. Circuitous routes led through the kitchen or living and dining areas in order to reach the bedrooms, and the kitchen, with its dark wood cabinetry and granite countertops, hadn’t been renovated in decades. 

"For all rooms, the client and our team were dedicated to the idea of color immersion, especially in small spaces like the bathrooms and hallways,

“For all rooms, the client and our team were dedicated to the idea of color immersion, especially in small spaces like the bathrooms and hallways,” Wilkstrom explains. The guest bath, for example, is covered in sea green, from tiled walls to painted ceiling. 

Photo by Mattaforma

See the full story on Dwell.com: How They Pulled It Off: A Reclaimed Wood Countertop at the Heart of a Kitchen Renovation
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A Moroccan-Inspired Midcentury Near Palm Springs Lists for $6M

Designed by Eggers & Wilkman, the 1958 Rancho Mirage home has Carrara marble floors, decorative wood screens, and a courtyard with a fountain.

Designed by Eggers & Wilkman, this 1958 Rancho Mirage home has Carrara marble floors, decorative wood screens, and a courtyard with a fountain.

Location: 70378 Pecos Road, Rancho Mirage, California

Price: $5,995,000

Year Built: 1958

Architects: Henry Eggers & Walter Wilkman

Footprint: 7,566 square feet (8 bedrooms, 11 baths)

Lot Size: 1 Acre

From the Agent: “A rare and extraordinary offering designed in 1957 by renowned architects Henry Eggers & Walter Wilkman for Thomas B. Davis, White Shadows stands as one of the desert’s most revered architectural masterpieces in Thunderbird Heights. Set behind private gates on an elevated acre, the estate boasts panoramic views of the valley floor and surrounding mountains. A sun-drenched courtyard, highlighted by a striking fountain, serves as the home’s dramatic centerpiece, seamlessly blending indoor and outdoor living. This is a once-in-a-lifetime chance to own an iconic estate where historic modernism meets timeless sophistication, all set against the breathtaking backdrop of the desert landscape.”

Patrick Ketchum

Patrick Ketchum

Patrick Ketchum

See the full story on Dwell.com: A Moroccan-Inspired Midcentury Near Palm Springs Lists for $6M
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A Bowie-Inspired Mural Strikes the Right Chord at a Family’s Renovated Flat

The “Aladdin Sane” reference adds to the irreverent apartment’s bricolage of checkerboard, splashy color, and eclectic shelving.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: Rome, Italy

Designer: 02A Studio / @02astudio

Footprint: 1,291 square feet

Photographer: Giulia Natalia Comito / @giu.natalia

From the Designer: “Sometimes when renovating a home, one wants to achieve a result that does not look new and freshly packaged, but has the flavor of something already experienced.

“This renovation was the request of two creatives. We transferred their family’s playful and whimsical imagery into spaces that would contain, without too many rules, what they love and what makes them happy. The home is in the Villa Fiorelli area, in a social housing development. The floor plan is L-shaped, with an entrance on the long side and windows arranged on another, a typical corridor layout with rooms in a row.

“Directly through the entrance is a central room with a living space on one side and a kitchen on the other. The hallway continues to the left of this central area, punctuated by three arched doors lacquered in sugar paper that grant access to two bathrooms and a first bedroom. On the opposite side, separated by a full-height swing door, are two more bedrooms.

“The eclectic, layered style links vintage elements with industrial-flavored grafts, antiques, and custom-designed furniture. Added to this are pictorial interventions made by the owner: geometric frames, and optical motifs that mark the doorways or decorate the walls. The floor is made of larch planks, and the walls have a rough finish—a lime-based IG 21 that dialogues with the rest of the home.

“The result is a welcoming yet awe-inspiring environment, an enthusiastic synthesis of the diverse humanity that will inhabit it.”

Photo by Giulia Natalia Comito

Photo by Giulia Natalia Comito

Photo by Giulia Natalia Comito

See the full story on Dwell.com: A Bowie-Inspired Mural Strikes the Right Chord at a Family’s Renovated Flat
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In Austin, a Cliffside Home With a Giant Glass Living Room Seeks $1.5M

The metal-clad house makes the most of its lush surroundings with 30-foot-tall windows and ample outdoor space.

This metal-clad house makes the most of its lush surroundings with 30-foot-tall windows and ample outdoor space.

Location: 3025 Geronimo Trail, Austin, Texas

 Price: $1,450,000

Year Built: 2008

Architect: John Allen

Footprint: 2,180 square feet (4 bedrooms, 3.5 baths)

Lot Size: 0.18 Acres

From the Agent: “A unique glass tree house feel and a magical experience await you as you step down the custom slate stairs into another world. This contemporary four-bedroom, three-full-bath Luxor Custom Home is unlike anything you have seen with glass walls that stand over 30 feet tall. A metal roof, steel construction, commercial grade doors, Honey Onyx countertops, a moss rock shower, Calcutta marble countertops, and marble floors are only a few of the luxurious features. Rock walls at this home carved into the side of a cliff give it a pretty private and serene setting. Located in the trendy community of Apache Shores, the home is five minutes from Lake Travis and three minutes from Lake Austin.” 

The home's glass walls reach heights of up to 30 feet.

The living area is framed by glass walls that reach a height of 30 feet.

Brandon Vos/Studio Vos, Inc

Brandon Vos/Studio Vos, Inc

Brandon Vos/Studio Vos, Inc

See the full story on Dwell.com: In Austin, a Cliffside Home With a Giant Glass Living Room Seeks $1.5M
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Before & After: In Albania, Two Sisters Turn a Ruin Into Twin Seaside Apartments

The duo overhauled the roofless stone structure with custom built-in furniture and a balcony overlooking the old town of Dhërmi.

Situated underneath the wood ceiling, the upper-level apartment’s living room is elevated by a petite, functional kitchen.

As children, Erazmia and Anxhela Gjikopulli reveled in summers at their parents’ house near the beach in Dhërmi, an idyllic Albanian village some three hours south of Tirana, the capital. So, when their father bought a dilapidated building in the historic center, the ambitious sisters were keen to transform it into an inviting home and forge new memories.

“For as long as we’ve been coming to Dhërmi, it’s looked like a ruin,” says Erazmia of the once-neglected structure. In the past, it was used for storing and pressing olives, but for Erazmia and Anxhela it evokes nostalgia on a more personal level because it neighbors the home their grandparents resided in before they abruptly left during communism.

Before: Facade

Previously housing an olive press, the building was abandoned for years.
Unadorned stone walls naturally flow up from the walkway.

At first, Erazmia, a Tirana-based architect and urban designer, and Anxhela, who works as a product owner in Munich, envisioned the renovation unfolding as one commodious, duplex-style apartment. Ultimately, they decided to create two pieds-à-terres—Sea Apartment 1 and Sea Apartment 2—one for each of them to relish in between guest bookings managed by their mother.

After: Facade

Preserved outer stone walls nod to the village's characteristic architecture.

The sisters preserved the structure’s outer stone walls in a nod to the village’s characteristic architecture.

Erazmia Gjikopulli

See the full story on Dwell.com: Before & After: In Albania, Two Sisters Turn a Ruin Into Twin Seaside Apartments
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A Cluster of Cabins on the Coast of Portugal Reimagine the Area’s Fisherman Shacks

The slatted-wood structures and their network of boardwalks are arranged to preserve a surrounding pine forest.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: Comporta, Portugal

Architect: Pimaa Arquitects / @pimaa_arquitects

Footprint: 4,500 square feet

Builder: Odum

Photographer: Ricardo Cruz / @ricardocruz

From the Architect: “Nestled between the serenity of a pine forest, this project captures the essence of Comporta’s landscape. Inspired by the sun, the area’s fishing traditions, and the raw beauty of the region, the design reinterprets humble fishermen’s wooden huts found in Carrasqueira, Portugal.

“The project’s guiding principle was an ecological commitment to preserve and respect the existing pine forest. Rather than clearing land, the cabins are delicately placed within the natural voids of the trees, allowing the landscape to dictate the architecture. A palette of natural materials—wood, cement, and plaster—grounds the design in honesty and simplicity, echoing the ethos of truth to materials.

“The architecture is composed of five distinct volumes, each designed with precise functionality and spatial articulation. These volumes are interconnected by a network of elevated wooden walkways, minimizing disruption to the forest floor and reinforcing the dialogue between built and natural environments.

“The day area, organized in the central volume, is a multipurpose space that consolidates living, dining, and kitchen functions under a unified roof. Designed with expansive glazing, this volume fosters seamless transitions between interior and exterior spaces, capturing views of the surrounding forest and rice fields.

“Two auxiliary volumes complement the day area. To the west, a gym space is oriented to embrace the setting sun. To the east, an open garage marks the entrance to the property, balancing functionality with a restrained architectural expression.

“The sleeping area is distributed across two volumes, emphasizing privacy and retreat. The first volume accommodates the primary bedroom and an en suite guest room, each benefiting from direct access to the exterior walkways. The second volume, dedicated to additional bedrooms, is designed for adaptability and comfort, ensuring a cohesive relationship between all the spaces.

“At the heart of the composition lies the swimming pool deck, an open-air courtyard bordered by the volumes. This space anchors the design, creating a dynamic environment where daily life unfolds. The interplay of water, light, and natural materials transforms the courtyard into a contemplative retreat, further integrating the architecture with its surroundings.”

Photo by Ricardo Cruz

Photo by Ricardo Cruz

Photo by Ricardo Cruz

See the full story on Dwell.com: A Cluster of Cabins on the Coast of Portugal Reimagine the Area’s Fisherman Shacks
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The Designers Behind the 40th Anniversary of Ikea’s Stockholm Collection Explain How They Did It

The brand is often most associated with low-cost furnishings. But its higher-end line has a rich history.

Your earliest familiarity with Ikea may vary, but mine was reading the catalog at my best friend’s house around age 10. I was always impressed with the cool stuff her family had, and when I found out you could order it from a catalog, and not just get it from a store (or pick it off the street, which is how my family found much of our furniture in New York City), the intrigue only continued. I’ll always remember the day I got my treasured first item from the brand—a mosquito netting canopy for my bed, the ultimate in cool for a middle schooler.

It wasn’t until I went to college that I got to fully avail myself of its offerings. Driving to the Chicago suburbs to pick out a coffee table and a desk for my new apartment felt like true adulthood, despite the fact that the car we drove to get there didn’t have power steering, a radio, or air-conditioning. This is the association that might stick in the minds of many Americans when they think of Ikea—the first time you’re able to buy furniture of your own, and it better be cheap, but it’d be nice if it was chic.

This solution they’d created for their audience—being able to buy design-y furniture at an affordable price—was once a problem for Ikea. What would they do when their demographic aged out of their wares? That’s why their Stockholm collection was born in the ’80s, featuring leather sofas and chairs, glass-fronted cabinets, and Nordic birch wooden furniture with hidden fittings. “What could the company offer all those people who had grown out of their low pine sofa, taken down their pop and protest posters, and moved their Ivar shelves into the garage?” the website explains, of the collection’s history. “They were looking for comfort and elegance, and [founder] Ingvar Kamprad came up with the solution: a ‘best of Ikea collection’.”

The company did, and still does, pride itself on the “democratization” of design. “The most beautiful Swedish furniture had long been reserved for a few: the rich,” a 1985 Ikea brochure reads. “Ordinary folk had to make do with poor copies or nothing at all. This doesn’t sit right with us.”

Since then, Stockholm has been released in seven editions, with the goal of providing “modern Scandinavian design of the highest quality, offered at an affordable price.” And in February, in an experience that would have awed college student-me, I went to, yes, the city of Stockholm to preview the company’s eighth for its 40th anniversary. The new collection—available to shop Thursday April 10th—is 96 pieces, and was inspired by both the Swedish capital and the immense nature just outside of it. It’s comprised of rich, deep colors with pops of surprising neons, sturdy woods, velvets, leathers, and smooth edges—a fit for the continued ’70s moment we find ourselves in.

During my interviews, I was particularly interested in learning from the designers about how they tailor Ikea’s ethos of price-first—they all start with a price band, and design a piece to match that—to create a higher-end product. In a collection like this, they have the opportunity to use more complex building techniques and more expensive materials, but the design ethos that is used in the least expensive items still informs all their products. (One thing they shared that they don’t have: a master database of all their materials and techniques, because it’s all learned, shared, institutional knowledge.) Because of the company’s scale, they are still able to produce items for low costs that would typically be challenging elsewhere, like the handblown glass vases in this collection, which, when produced at volume, become feasible. Here, in their own words, this year’s Stockholm collection designers describe what they were trying to accomplish in creating five of the collection’s pieces for the masses, ones that manage to feel personal to you.

These interviews have been edited for length and clarity, and all prices have been converted into USD.

Available in dark turquoise, dark brown, beige and gray/white, this sofa can be configured into many sizes depending on which sections you purchase.

Available in dark turquoise, dark brown, beige and gray/white, this sofa can be configured into many sizes depending on which sections you purchase. Below it is a handwoven, 100 percent wool rug.

Courtesy Ikea

Stockholm 2025 Sofa

Ola­ Wihlborg, designer: We can start with the sofa, because the whole collection started with sofas. Because we wanted to find something that sets the tone and that’s also the piece that sets the tone in the living room. It’s a big piece.

So we started the sketch of the sofa—it was [fellow designer] Nike [Karlsson] and I—and the starting point for me was my sofa at home. I have a sofa from a previous Stockholm collection with a lot of cushion inside. We always fluff these cushions and make them in order for the night. And now we have a lot of kids and we have a dog and the cushions are all over the place. So the idea was to do a new sofa that looks the same all the time.

It’s quite tricky to find a shape and a material that also has comfort. It’s easy, it turns out, to be something that is just hard. So I started to find these soft shapes and I sketched the shape in soft materials also. We’ve done the shape in Älmhult [Ikea’s headquarters] in the pattern shop, and when we finalized the shape and we were satisfied, we sent the shapes to the supplier where we made a lot of samples to try out the right comfort.

We have a spring core with the springs inside the center, and then we cover it with a cold molded foam shape. That makes it also very durable. The cold molded foam will keep up the quality over a very long time. You can use the modules separately also, so you do not need to connect them. You can have them like an armchair also.

Karin Gustavsson, creative leader: We knew from the beginning we wanted a velvet.

Wihlborg: We started with velvet because we wanted the soft feeling.

Gustavsson: The colors pop much more in the velvet. And then the velvet is, I think it’s like 90 percent recycled polypropylene. And it’s a really good quality, high-quality velvet. We have a full textile team who develops the fabrics for us and they are so tested—they need to last a long time. And also not to be too much for dust. It’s antistatic. And the blue one came because we said we need a pop color—we need something to pop.

Everyone thought it was crazy. And then we did a brown one and everyone said, “Brown? Gray and black.” Because I love brown. And now it’s so trendy. And then we made the beige ones. Everyone’s so grayish otherwise. 

Wihlborg: The cover is removable so you can wash it. And the bouclé came up when we made the armchair. For that one, it’s more tricky to find the fabric that we can cover this shape with. And that’s why we started with the bouclé and then when we saw the armchair, we said we need to have the same on the sofa.

Gustavsson: It’s so Scandinavian, it’s a little bit like this snow feeling. And it’s not too bouclé—it’s quite a dry fabric.

Wihlborg: We always have the price in mind when we start, not the exact price [but a range]. When you have that, you can see immediately, oh, we can’t go too big, we can’t go with that material. And you have a certain amount of money to spend. Of course sometimes you need to step out from that. But then you also have to explain why.

Gustavsson: We knew that Nike’s sofa was going to be, for us, a bit expensive. It’s $1,899.

Wihlborg: It’s more expensive than this one.

Gustavsson: We thought, for us, it was a bit expensive. And here you start at $1,299.

Wihlborg: For two.

Gustavsson: So you could say you get this one for $1,299 and then you add a mid-seat for $400. So it’s a quite good price for this one. Even to make a four seater, which you often cannot afford. The thing is also with this one, in a normal flat in London or Tokyo, you cannot bring a big sofa into the house because of the elevators. And you’re on the 12th floor, you cannot have someone carry [it up]. This one you can easily take piece by piece in the elevator. It’s also convenient for moving. We even did home visits just to see.

The other sofa in the collection is made of cotton/linen, leather and solid pine.

The other sofa in the collection is made of cotton/linen, leather and solid pine.

Courtesy Ikea

Stockholm 2025 Sofa

Nike Karlsson, designer: This sofa was really hard to make because I had so many different directions, but we ended up designing what we wanted to have. Then we met the supplier and we started to discuss: How should we build up the construction? How should we build the comfort? I said that maybe when we do this high-end product, could we also maybe try to reduce the amount of foam? Because foam is hard to recycle. And then the supplier came up with the idea of coconut fiber. They had it in other products—not for Ikea—but I thought it was something that we had in the ’50s or something that didn’t exist anymore. So that is what we have on the armrest, in between the frame and the fabric, is coconut fiber. And then in the seat portion we have this pocket spring. And then on top of that, they have, instead of foam, latex [from trees]. And that is super durable. When it comes to sit on it, it keeps the shape. So now we can offer this sofa with a 25-year warranty, because it is so durable.

The fabric, that was the trickiest one, because I was so worried that we couldn’t develop a new fabric for this sofa in the quality that I really wanted to have.

Paulin Machado, designer: You’re picky. 

Karlsson: It’s so important what kind of fabric you can offer on the sofa. And then we also worked with the small pillows, how to make comfort without bird feather down or something like that. That is so nice. But you can’t do that, because of the animals and also people are allergic. These cushions are built in three layers. We have this block in the center with latex. And then we have fiber on that. And then we started to get a really nice feeling when you touch it, but it still, there was something wrong, because it didn’t sound right. So then they asked, ‘What is it that sounds on a feather pillow?’ It’s the cotton fabric that you have that is woven really, really tight. The pen crunch, it’s the crunch [of the feathers]. Could we add that fabric to get the right noise?

The glass pendant lamp comes in two different styles.

The glass pendant lamp comes in two different styles, one horizontal, the other more vertical.

Courtesy Ikea

See the full story on Dwell.com: The Designers Behind the 40th Anniversary of Ikea’s Stockholm Collection Explain How They Did It
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Asking $4.5M, This Huge, Historic San Francisco Victorian Is a Rare Find

The fully detached home—with front and back patios—was built in 1872, and it’s still packed with period detail after a top to bottom revamp.

The fully detached home—with front and back patios—was built in 1872, and it’s still packed with period detail after a top to bottom revamp.

Location: 956 South Van Ness Avenue, San Francisco, California

Price: $4,495,000

Year Built: 1872

Architect: Edward Leodore Mayberry

Renovation Date: 2017

 Renovation Architect: Paul Molina

Footprint: 5,158 square feet (4 bedrooms, 5.5 baths)

Lot Size: 0.1 Acres

From the Agent: “956 South Van Ness is a historic grand Italianate Victorian built in 1872 by noted architect Edward Leodore Mayberry. During an extensive two-year restoration/renovation in 2017, a thoughtful commitment was made to honor its history and artistic accents while upgrading the interior for modern living and a full upgrade in systems including the foundation, electrical, and plumbing. The main level is an entertainer’s dream with grand rooms (all w/soaring ceilings), a chef’s kitchen, and a sun-filled walkout garden. Upstairs are three bedrooms and three full bathrooms. The lower level was completely built out for additional living space (and bedroom) with a full bath (or a future unit with plumbing for a small kitchen). Additional features of this spectacular, fully detached home include a two-car side-by-side garage, an 800-bottle wine room, two laundry rooms, and abundant storage throughout.”

Open Homes Photography

The home's stained glass was sourced from Cradle of the Sun, a local store.

The home’s stained glass was sourced from Cradle of the Sun, a local store.

Open Homes Photography

Open Homes Photography

See the full story on Dwell.com: Asking $4.5M, This Huge, Historic San Francisco Victorian Is a Rare Find

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What the Roaches in My Rent-Stabilized Apartment Taught Me About the Housing Crisis

In my fight against infestation, I realized that no man is an island, least of all in the New York City rental market.

This is a story with a happy ending—community, hope, a deeper understanding of how we could live in the world—but a less serendipitous beginning. I was lying in bed, falling asleep, when I felt a tickle on my arm. I brushed it reflexively, expecting to feel nothing much, but instead I felt, curled up in my hand, squirming: a roach. Running across me. While I was supposed to be safe and sound in bed. The anguish.

The bug was not, unfortunately, a total surprise. Since I had moved into my grungy, downtown Manhattan fifth-floor walk-up in early 2021, I had been dealing with roaches. At first they were a novelty, a sort of quirky new scenario in my zany New York sitcom. I set traps, poisons, consulted my building’s exterminator. I assumed they’d be a passing crisis, forgotten tomorrow with the next episode’s adventures. When they endured, comedy turned to tragedy. The problem seeped into my self-image. Was this me? Was I the sort of person who had roaches in their apartment?

I had visions of Kafka’s The Metamorphosis and that clip of the woman on 1000-lb Sisters crying about people seeing roaches in videos of her home while a roach is climbing up the wall in the background. Roaches are a tough look to pull off. Other apartment issues can be fun, even vaguely glamorous in a tongue-in-cheek boho chic kind of way. “Oh, my hot water is out because my landlord can’t seem to fix the boiler”—it’s a problem out of La bohème, one that you might tell a friend before breaking out into an aria about being an artist seeking true love. But a bug problem feels personal, a supposed reflection of moral failure. In my mind, I had roaches because on some existential level I was doing something wrong.

At this point, I hear you whispering the same thing that I initially told myself: Move. Get out of there. Heal thyself in the sanatorium of a new home. The problem was that I was trapped by the New York City rental market.

I moved into my place in the depths of the pandemic, when people were leaving cities for big country homes or Florida or wherever else. New Yorkers were fleeing in droves, and the Manhattan market tanked. Landlords were offering deals: Three months free! $400 off your rent for six months! Fortunately, I had the advice of a friend who works in affordable housing, and I snatched one of the deals in a rent-stabilized apartment where the landlord wouldn’t be able to jack the rent back up when the crisis passed. I signed a lease for $1,600 per month for a one-and-a-half-bedroom in Little Italy. I knew that I’d never find something like that again, barring another world-stopping catastrophe.

So, I dug in and didn’t flee. But neither did the roaches. Eventually, I asked experts beyond the friendly man who came once a month to spray the building what I should do, but I only did that after I had tried to handle the problem on my own. As the experts later told me, I started going about it all wrong.

Initially, after doing a deep clean to make sure there were no hidden roach nests in the apartment, I set baited traps to kill whatever might be hiding, which Jesse Scaravella, owner of Evergreen Eco Pest Control, now tells me is a common mistake. “Everybody gets on the bait cycle,” he says. The problem with baited traps is that in addition to trapping roaches, they also attract them. “You’re kind of creating a beacon.” I was dealing with German cockroaches, which are smaller than the monstrous American cockroaches. Despite being larger, I learned that American cockroaches are less of a headache overall. In New York apartments, they’re usually lost wanderers coming up from sewers via pipes. They are big, but they are often solo travelers and are less likely to linger and infest than their smaller German counterparts. German roaches, once invited inside by bait or food crumbs, will lay eggs and reproduce, multiplying your problems. Because they’re so small, they can get in from small cracks or gaps around poorly sealed pipes, for instance, or even the gap beneath the door. Once inside, they look for moisture and food and can snuggle up in tight spots.

Roaches, I realize, are an architectural issue, and in an old claptrap like mine, the borders are weak. 

“Cardboard is the enemy,” Scaravella tells me. “All those boxes are infamous for traveling roaches.” Collections of plastic bags, like the kind I used to keep under the sink, also create cozy breeding grounds for them. 

Scaravella’s advice is to clean up food crumbs carefully and look for anywhere that moisture accumulates—maybe condensation on a cold pipe or in an appliance. Deal with that, and you will reduce what is attracting the bugs into your home. The next step is keeping them from getting in at all.

“The question is not about, Can you get rid of them?” Timothy Wong, the technical director at M&M Pest Control, tells me. “The question is, Can you prevent them from coming in?” 

After pooh-poohing the other products I panic-bought to keep the bugs away, like essential oils or plug-in sonic repellers, Wong advises me on what exterminators call exclusion, or closing up your apartment so nothing unwanted can get in. “The best long-term solution is sealing up all the access points,” he says.

It’s easier said than done. After I start looking for ways in, I can’t stop finding them. My old tenement apartment, layered with various cheap renovations, is a nightmare. I discover a crack where the floor for some reason steps up, small holes around the showerhead, an eerie gap where a pipe runs through the ceiling into the great beyond. I caulk in a frenzy, and when the gaps are too wide, I roll out the duct tape. I develop a maniacal focus on recording where I see them to figure out how they get in, making spreadsheets of sightings. For the persistently difficult portal to hell apparently located in the cabinets beneath my kitchen sink, I bust out some double-sided carpet tape and line the front perimeter of the cabinets to create a barrier that catches any bugs trying to escape, trapping them until I pluck them out to their graves.

I make some progress, liberating the bathroom and bedroom, but I can’t seem to win the whole apartment. Roaches, I realize, are an architectural issue, and in an old claptrap like mine, the borders are weak.

“The problem is that in New York City, you’re not living in an apartment where you are the only caretaker,” Wong tells me. “You’re living with all these neighbors, and you have no idea what their sanitation or hygiene is like.” 

No matter how clean I keep my place and how many cracks I fill, I can’t control what happens next door. This ends up being my final liability.

“That front door is always going to be subject to insects coming in,” Wong says, and he’s right in my case. It’s the one place where the roaches still made it inside, even after all of my efforts. It’s not possible, apparently, to seal myself off from the world around me. Who knows if one of my 20-or-so neighbors is hoarding old boxes or leaving food out overnight or being anything less than monomaniacal in their focus in combatting the roach scourge? Who around me is not part of the solution and is therefore part of the problem?

The more I chat with the people around me, though, the less I think that my neighbors are really the enemy. Many of us are in the same boat: We hate the bugs, but our rents are too good to let go of in a city so expensive. Rent stabilization has put us all in a battle together, and though I see us as a horde of tenants floundering in roach-infested waters, others envision more potential.

Cea Weaver, the director of New York activist group Housing Justice for All, tells me, “Rent stabilization…creates a political class of people who can act together.” Neighbors with trash aren’t the enemy; our crummy housing system is. Weaver gives me a quick history of rent stabilization and what it does. “The Emergency Tenant Protection Act, which is commonly known as rent stabilization, has been around since 1974,” she says, but over the following decades, the real estate industry successfully lobbied to get loopholes in the system that reduced the number of stabilized units in the city. A 2020 study from the New York City Rent Guidelines Board found that the city had lost about 145,000 rent stabilized units since 1994.

I’ve started to think of my roaches not as a personal flaw but as a defect in the country’s housing system.

In 2019, tenants groups like Housing Justice won big in the state legislature, which decided to strengthen rent stabilization in New York City and expand it to the rest of the state in what Weaver calls a “generational victory.” Now, Weaver calls rent stabilization “the gold standard when it comes to tenant protections, and it covers about forty percent of the rental housing stock in New York City.” As she explains it, the system essentially guarantees the right for tenants to renew their leases and limits the amount that rents can go up. Rent stabilization laws set up the Rent Guidelines Board, which meets annually to determine the most that stabilized rents can go up that year. During the peak pandemic years, the board said that stabilized rents couldn’t go up at all. Usually the amount is in the low single digits.

Weaver and Housing Justice are now trying to organize tenants into a political group that can advocate for better living conditions. The U.S. housing system has long privileged homeowners, offering them tax breaks and mortgage protections. Ownership is part of the American dream. But Weaver and I discuss how outdated that model is at a time when more and more people are giving up on the idea of ever buying a home, especially in New York City. “Stability and security is not something that can be reserved for people who own a home,” she says.

Rent stabilization is perhaps not the sexiest solution to the housing crisis, but, Weaver says, it’s one with the ability to help people across social spectrums. “One of the things that I think makes rent stabilization so special is how many different types of people have a stake in it succeeding,” she says. “It is for working class people. It’s for low-income people, it’s for middle-class people. Stabilization is for everybody.”

I’ve started to think of my roaches not as a personal flaw but as a defect in the country’s housing system that leaves so many people fending for themselves and fighting for whatever bits of shelter their landlords deign to provide. More cynically, I have thought of the roaches not as a bug but as a feature of my apartment, one that gets tenants with good deals to move out so the landlord can raise the rent.

I wish I could say I have drawn some wisdom from my roach experience, but the whole ordeal just illustrates to me how little wisdom there is in the American approach to housing overall. After talking to Weaver, I wondered if my time would be better spent petitioning my state senator for better housing policy instead of caulking some crevice for 30 minutes every week.

But then something wonderful happened, at least for me: Last summer, the roaches disappeared. I suspect it had less to do with my work and more to do with some light renovations done to the bakery next door and the stairwell of my building. Whatever, I’ll take the win. At this point, though, I can’t go back to naive optimism about my housing future. I’m sure it’s only a matter of time before I make some other concession to stay in my apartment. Already, my rent has crept up over the past few years, far faster than my salary has, thanks to our current mayor’s appointments to the rent stabilization board, who have voted to allow rents to rise. It may be time to take my battle outside of my home.

“The cost of living crisis is out of control, and we need a rent freeze,” Weaver says. Her goal faces some stiff headwinds: Andrew Cuomo is a leading candidate in this year’s mayoral election, and he has reportedly told real estate leaders that he regrets elements of the 2019 reforms bolstering rent stabilization, which he signed into law when he was governor. But other candidates, like Zohran Mamdani, have signed on to the idea.

Any long-term vermin solution, I’ve learned, requires cooperation with your neighbors. But there’s no reason to stop there. With some broader teamwork, we could all one day be stronger against the bigger pests plaguing our homes.

Top illustration by Tiffany Jan

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