AFTER THEIR FOUR KIDS left home, Larry and Debbie Robbins found themselves empty nesters with too much stuff—too much furniture, too many rugs, and too much house. Their 7,000-square-foot brick colonial with its huge footprint, traditional decor, and tedious staircases no longer made sense for their lifestyle.
“I kept telling my husband that we needed to downsize, and he agreed, so long as it was modern,” Debbie says. “Having received interior design training at UNCG, I’d only done modern projects, so it came naturally to me.” Once the decision to downsize was made, the couple embarked on a series of trips to study examples of modern design, but it was in Wilmington where they immediately and unanimously fell in love with the work of Kersting Architecture. When they secured the perfect lot on a quiet street in Raleigh’s Country Club Hills, only seven blocks from their previous home, they called on architects Michael Ross Kersting and Toby Keeton to lead the project.
“The Robbinses’ new home was not only a chance to downsize and streamline, but also an opportunity to focus on their long-held passion for art,” Keeton says. “They needed a home that could be lived in comfortably with friends, family, and their dog, Buddy, but also be a welcoming gallery in which to display their art collection and host events. From the paintings collected in early travels to their relentless advocacy for the local North Carolina arts community, the couple has amassed an impressive collection through the years. We needed a balanced design conducive to both objectives.”
Stepping away from previous traditional aesthetics, the Robbinses embraced organic modernism, opting for a clean aesthetic of white walls and white oak floors that embrace natural light and an unencumbered flow between inside and out. The home’s unique U-shaped structure includes a central main living area flanked by two wings, one for the family and one for guests. Nestled in between, a courtyard with a pool provides the family a private place to enjoy the outdoors while also affording spectacular views of the artwork lining the glass-winged hallways.
Because Debbie preferred an open concept that still retained some visual breaks between rooms, the design hinges on “scale”—breaking down the main living space into smaller, more intimate rooms without inhibiting the flow of light and movement. To accomplish this, the ceilings in the central area are higher than the rest of the home and feature expansive windows that pull in loads of natural light. Pocket sliding doors in the living room can be completely opened, creating a seamless merger with the courtyard, effectively doubling the livable square footage.
A freestanding wall separates the dining area while also offering valuable storage and camouflaging an HVAC return. A scullery with full appliances sits just off the kitchen, allowing food prep and cleanup to remain hidden from guests while keeping the kitchen’s countertops and island uncluttered and pristine.
The clean lines, neutral colors, and ample glass create the perfect backdrop to showcase the Robbinses’ extensive art collection. From the Thomas Sayre sculpture greeting guests at the front entrance to the Jason Craighead canvas in the hallway, and in every room in between, the home is a carefully curated experience for all who enter. “No matter where you are, inside the home or outside in the courtyard, every viewpoint frames the artwork with mahogany portals and walls of glass,” Keeton says. “This is why we dubbed it the Frame House. From every angle, the house displays the house itself.”
Whether spending time with family or hosting an event, the Robbinses’ home is always full of light and life. “Everything works,” Debbie says. “I don’t think I’ll ever consider changing a thing.”