While the interior is remarkably modern, traditional elements subtly reintroduced in extraordinary ways suggesting a harmony between new and old. Blank white sections of the main floor walls appear to sit slightly in front of a second, charcoal-coloured plane with ornamental baseboards, representing the existing shell of the house; these layered white insertions elucidate the charcoal-coloured accent walls, frame the fireplace, and set up proscenium-like borders for prominent doorways. On the main floor sliding doors with large glass panes framed in black steel similarly a blend of modern minimalism with traditional panel-door proportions. The classic Victorian four-panel door on the Upstairs is in bedroom doors incised with half-round grooves in place of panels, enlarged and reframed to extend the layering motif. The use of colour throughout the design is limited. A limited amount of charcoal and black is used in striking counterpoint against the dominating white backdrop, determining the doors and window frames, thresholds, stair treads, kitchen backsplash, and the frames of most furnishings. This high-contrast palette is toned down by the intelligent use of textured, pale neutral finishes, including pewter-toned hardwood on the main floor, sand-coloured hardwood on the second and third floors, driftwood-coloured veneer for storage cabinetry throughout the main floor and Bianco marble on the foyer and the kitchen floors and island.

A garnet-coloured powder room on the main floor although the colour accents that top this neutral canvas are dark blue and pink, emerging in wallcoverings, furnishings and area rugs. In specifying all of the house’s furniture, Reigo & Bauer drew from numerous sources to bring together a diverse collection of soft yet clean-lined seating with highly textured fabrics—in some cases as with the black and pink-upholstered dining chairs, customizing unique combinations that summarize the interior’s original use of colour, contrast, and line.