home
Before the Crossroads Arts District became famous for its galleries
and shops, it was known as Film Row, home to the Midwest offices of
MGM, Warner Brothers, Disney and 20th Century Fox. When Stephen
and Sarah Hopkins purchased a loft there in 2005, they knew their
own production—creating a home from a warm shell—would
require a cast of strong supporting artisans and craftsmen.
Though ready for improvements, the loft was not ready for occupancy. There were four
walls—one with a giant hole in it—and an HVAC unit hanging from the ceiling. The
appeal was that it wasn’t a cookie-cutter loft, and the Hopkins family could customize the
space however they wanted, which is exactly what they did.
While waiting for the loft build-out, the couple spent eight months in an apartment
on Metcalf and I-435, which although temporary, left quite an impression. Vestiges of
this are a collection of six photographs taken by the couple as a way to document their
time, most of it spent in the car surrounded by other weary commuters, semi trucks,
traffic signs and concrete.
Now Stephen and Sarah find themselves surrounded by a feeling of community, coffee
houses, a wine merchant, a green buildings material showroom and the reason “the
condiment shelf in the fridge sees the most use”: great neighborhood eateries, including
Los Tules, Extra Virgin and YJ’s Snack Bar.
This may explain why after five years, the kitchen bar is still in nearly pristine condition
(next spread, left). Truly the epicenter of the space, it also serves as the backsplash for the
stainless kitchen countertops. Designed and built by local furniture designer Joe Munson,
this heavy hitter, both in looks and weight (1,000 pounds, requiring 16 people to move
it), has thoughtful details like a built-in flower vase and seamless 1-inch square outlets
with 1 1/4-inch square pushbutton clear bezel switches from Switzerland. The bar is
composed of more than a dozen different components, including a custom-designed icon
insert featuring a blade graphic for the disposal and a light bulb graphic for the lamps.
The 1/8-inch diameter, micro-florescent lamps found at the front of the bar are the kind
used to illuminate LCD screens in laptops. Though fragile, they have incredible endurance,
and, says Munson, “[they] should last 50 years [when] turned on 14 hours a week.” Only
one has needed replacement in five years. But Munson’s design, incorporating spring-loaded
receptacles for the lamps, will make even that rare task easy. “That’s what I’m most
proud of,” he admits. “Taking something cool and making it practical.”
When the lights are not in use, natural light pours in through three large windows
(left)—the center one rumored to be the loading area for the horses from bygone
homeowners StePHeN AND SARAH HOPKINSlocation CROSSROADS ARtS DIStRICt
local resources JOe MUNSON & ASSOCIAteS, LUCID ARtSstory by KeRRY PItt-HARtphotos by BOB GReeNSPAN
ready for its closeup
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Film Row days. Left bare since the couple took possession, it wasn’t
until this year that the windows became covered in Munson’s invention,
the Integrated Bottom Up Shade. The fabric is a washable solar
shade that comes in dozens of colors. The shade’s pièce de résistance
is the clever mechanical apparatus concealed within the custom frame,
which employs a counterweight making it a breeze to raise the shade
up or down.
Munson’s work can also be seen in two large-scale sliding doors
(above left). Approximately 8 square feet, they are composed of
three separate panels crowned with laminated inkjet prints designed
by Daniel Bartle of Lucid Arts. Stephen’s interest in maps prompted
Bartle to use an enlarged map of Kansas City from 1907 to form
the background for clouds and a flock of birds. A star marking
“You Are Here” at their address, as well as a photo of graffiti
captured just around the corner, accurately place the viewer in the
midst of the depicted surroundings.
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“The biggest challenge has been to create an open space that is livable,” Sarah says. In
order to maintain the integrity of the space, much of the furniture from their former Mission
home was donated because it had no presence in the new space. Now much of the furniture
and accessories are from Design Within Reach, Black Bamboo and Crate and Barrel.
Inherited pieces like a pair of chairs that belonged to Stephen’s grandmother and
artwork from the mother of one of Sarah’s childhood friends accompany the new additions.
Another standout is Munson’s coffee table design, incorporating a powder-coated V8 engine
block under glass (first spread).
Above the dining room table hangs a stunning Cellula Swarovski crystal chandelier
designed by Carbone and Vudafieri (previous spread, left). The contrast between the
traditionally cut crystals with the polished aluminum base and the nearby lamps fronting
the modern metal bar is a testament to the owners’ visual acuity. This harmony by contrasts
is further echoed in the shape and design of the Eames Molded Plastic Chairs. Here, the
curve from seat to back is gradual and sculpted to fit the body while the top of the bar
reveals more of an abrupt right angle.
The Hopkins/Munson collaboration reminds this writer of the relationship American
art collector Peggy Guggenheim had with the painter Jackson Pollock. “With no strings as
to what or how I paint it,” is how Pollock described the commission he received to create
a mural for the entry to Guggenheim’s townhouse.
Of the Hopkins couple, Munson relates, “They generally like my ideas and usually let me
just run with them. They have sort of come to represent me maturing as a designer and
fabricator, and I am very proud of our relationship and the work that is a product of that.”
This relationship will continue with the couple’s future plans for a kitchen remodel. n
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