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Studio + Workplace
Harmony House
Studio
Ericksen Eagle Harbor Building · Bainbridge Island, Washington
Ericksen Eagle Harbor Building · Bainbridge Island, Washington
Our own studio is the project we've lived in longest — and the one where we were most free to be opinionated. The space occupies what was previously two separate suites in the Ericksen Eagle Harbor Building, including a unit that had housed an insurance company for thirty years. It showed.
We gutted both suites entirely, combined them into a single flowing space, and rebuilt from the bones up. The defining move was removing the drop ceiling and exposing the vaulted structure above — then cladding it in Canadian cedar, which transformed the room's entire character. That ceiling is the thing visitors notice first and remember longest.
The studio was designed to work hard on two levels: as a genuine high-functioning design workplace, and as a living sample of what Harmony House makes. Every material decision, every piece of furniture, every finish is here because we believe in it — and because we want our clients to experience the quality of our thinking before the project even begins.
The client meeting lounge — a proper living room environment where projects begin. Curved burgundy velvet sofa, floral accent chairs, and the exposed Canadian cedar ceiling that defines the studio's character.
The Ericksen Eagle Harbor Building had good bones but a difficult history. The adjacent suite we absorbed had been occupied by the same insurance company for three decades — which meant drop ceilings, fluorescent lighting, commercial carpet, and a spatial logic built entirely around file cabinets and cubicle partitions. Nothing about it suggested what it could become.
Combining the two suites required careful structural coordination and a willingness to make irreversible decisions early. Removing the drop ceiling was the first and most consequential of these — revealing the vaulted structure that now defines the studio. Once that ceiling was exposed and clad in Canadian cedar, every other decision in the space became easier. The room had a character. Our job was to match it.
The main workspace — custom built work table with Gray Goose marble top, globe chandelier, and the sample library visible through the arched doorway beyond.
The oversized work table at the center of the studio is custom built — sized specifically for spreading out full material presentations, large-format plans, and fabric samples simultaneously. The surface is Gray Goose marble: a stone we specify often for clients, and one we wanted to live with ourselves before recommending it to anyone else.
The globe chandelier overhead was chosen to provide even, flattering light across the entire table surface — critical for accurate color and material evaluation. The balance between functional task lighting and atmospheric warmth was a problem we solved here first, and have since carried into dozens of client projects.
Throughout the studio, we incorporated various countertop materials at different scales and in different orientations — giving clients the opportunity to see stone, quartz, and solid surface not as samples but as finished surfaces in a real environment. It changes how people make decisions.
Emily and Jenni each have a private office, and the two rooms make no attempt to match each other. That was intentional from the start. Two different designers with two different working styles and two different aesthetic sensibilities should have two different rooms — and the contrast between them tells a more honest story about the studio than any single unified interior would.
Emily's office has the quality of a considered residential space — warm, focused, with a strong visual anchor and furnishings that feel like they've been lived in rather than installed. Jenni's is bolder, with a willingness to use pattern and material at a scale and intensity that stops people in the doorway. Together they demonstrate range; separately, they demonstrate conviction.
Left: Emily's office — warm oak, sage, and considered restraint. Right: Jenni's office — bold pattern, statement presence, and a leopard print wall that has become the studio's most-photographed moment.
The Harmony House studio is our best sales tool, our most honest portfolio piece, and our daily working environment — all at once. Clients who visit understand immediately what kind of firm they're working with, not because we tell them, but because the space around them says it clearly.
The cedar ceiling, the marble table, the two offices that refuse to match — all of it adds up to an argument for the kind of design thinking we bring to every project. Conviction. Specificity. The willingness to make a decision and live with it.