Court House is a minimalist residential interior located in Salt Lake City, United States, designed by Susannah Holmberg Studios. The brief carried an inherent tension: a family splitting their year between two continents needed a home that could hold both worlds without collapsing into either. The solution Susannah Holmberg Studios arrived at – a Nordic sensibility pushed toward saturation – threads that needle with unusual conviction. Scandinavian interiors have long traded on restraint and pale light, but this project treats those same principles as a foundation for something warmer, more loaded with color and texture, without ever tipping into excess.

The kitchen anchors the approach. Heath Ceramics tiles run wall-to-wall and counter-to-ceiling in a textured beige that gives the room its primary material register – tactile, matte, slightly uneven in the way handmade ceramic always is. Against that field, deep red cabinetry reads less as a color choice than a structural decision: the warm, saturated tone activates the neutral backdrop and absorbs the visual weight of a stainless steel island at the center. The pairing recalls the way Scandinavian design has historically handled contrast, using a single charged element to give the rest of the room permission to breathe.

In the living room, honey-toned Tired Man chairs and a dusty gray sofa from BR Home occupy the kind of quietly curated arrangement that comes from treating vintage finds – sourced here through 1stDibs – as primary rather than supplemental furnishings. Sandy Great Plains curtains pull the palette back toward neutral, functioning as a perimeter that holds the richer tones in check. The room resists the urge to perform comfort; it simply produces it.

The primary suite scales this logic up. A custom wall-to-wall headboard upholstered in rust fabric from Momentum Textiles becomes the room’s organizing gesture – a material decision that earns its prominence by running the full width of the wall. Deep brown built-ins tucked beneath the angled ceiling on the opposite side introduce a darker value without heaviness, a move that reflects how Nordic interiors handle low ceilings and angular geometry: by leaning into the architecture rather than correcting it.