The Carter House x Studio Yuda
Carter Avenue | East Nashville | Studio Yuda
This unconventional, minimalist, modern marvel of a home on Carter Ave feels like a well-kept secret — serene and understated, tucked back and away on an unassuming side street in an East Nashville neighborhood, a few blocks from my own home. It’s unlike its neighbors, it’s recessed into privacy, and strikes a balance of aesthetics both bold and understated. It’s discreet without being shy, with strong geometric shapes, clean lines, and natural materials that lend an organic warmth to its upscale presence. It feels well-integrated into the landscape, with earth-toned accents complementing the surrounding greenery, where simplicity and elegance coexist effortlessly.
A vibrant cherry red mailbox marks the address, with a long gravel driveway that snakes down the property line. A curious, small wooden studio sits to the side, its cube-like form adorned with a singular porthole window that teases glimpses of the artful interior—a vibrant pop of golden yellow hinting at the creativity within. High above and beyond the studio, large, airy, sundrenched windows peek over the 15 foot tall facade of soft ivory brick and flood the interior with natural light. Every element of the design feels intentional and harmonious.
As my Jeep rolls up and crunches the gravel beneath the tires, I enter an architectural oasis of serenity and minimalist design. I’m here at high noon, just as the south facing sun gives its strongest kisses. An afternoon thunderstorm is rolling in while it is 98° outside in the middle of August and I’m trying to avoid a sunburn. The swimming pool, tucked on the back north side of the house, eagerly awaits the overhead sun for its most vibrant warmth. Minimal, thoughtful, and playful landscaping is sprinkled across the property. I tread lightly down the stone path in the grass to unveil the front door, as a gorgeous, unobstructed entryway unfolds before me into the courtyard, brimming with late-summer blooms, before the soaring wooden threshold. A single wrought iron chair and a weeping cherry tree invite moments of solitude, contemplation, and sun salutations.
Around back, a secluded and spacious yard is shaded by the outstretched branches of a single, massive generations-old oak tree. A rectangular swimming pool extends from the house, creating a seamless flow from the indoors to the outdoors. Lounge chairs, white umbrellas, and wildflowers evoke sensations of relaxation poolside, once again finding balance in new corners.
This homestead brings me so much peace in my small time in its presence. It feels as if it should exist in a sprawling landscape, perhaps nestled into the foothills of a desert with mountains rising beyond the backyard. Yet here it stands, tucked into a bustling urban neighborhood, surrounded by ranch homes from the 1950s, bungalows from the early 20th century, and budding new builds abound. I hope this home inspires fellow neighbors to pause, take in its powerful aesthetic, and get curious about the possibilities of your own home. It’s a reminder that architecture is for us, to live and exist within and around.
Billie Eilish & Finneas recording Live in the Blue Room at Third Man Records
Shhh... Billie Eilish Intimate Secret Show at Third Man Records
FEATURED IN :
Words combined from stories by Charilie Zaillian (Rolling Stone) and Laura Hutson Hunter (Nashville Scene)
“On Wednesday night, the 17-year-old pop phenom born Billie Eilish Pirate Baird O’Connell played a secret show at the Blue Room in Jack White’s Third Man Records. It was an invitation-only affair that brought out lots of music-biz insiders and performers — among them Jason Isbell, the Watson Twins, Bully’s Alicia Bognanno, Michelle Branch, Vanessa Carlton, Tristen and others — as well as a smattering of superfans who gathered near the front of the stage.
As with many of the Blue Room shows, Eilish and O’Connell’s performance was recorded direct to acetate for a record to be released via Third Man. The vinyl version of the recording will be available in December at TMR's locations in Nashville and Detroit, with a limited-edition version (featuring splatter paint artwork by Eilish) available to the attendees only — the invite-only crowd — a Venn diagram of local scenesters, industry types and mom-and-dad-of-the-year-candidates with kids in tow.
When Eilish looked up into the audience, her posture changed, her eyes sparkled. Onstage she isn’t a timid teen — she’s an international superstar. Her brother and collaborator Finneas O'Connell was at her side, switching between guitar and keys throughout the set.
Where a full-scale Eilish concert is a maelstrom of macabre visuals, seizure-inducing lights and screaming teen admirers, at Third Man she was freed from having to simultaneously work a giant stage, hype up an audience and sing the songs. The Blue Room’s “recording” light flipped on — the stakes got higher, the safety net was gone, and it was time for the audience to share responsibility for making the record. The stage lights turned red, and Eilish moved into elemental versions of the mischievous, vaguely menacing “All The Good Girls Go to Hell” and “Bury a Friend”, which elicited rapturous call-and-response from those up front; for the neo-soul-styled “idontwannabeyouanymore,” meanwhile, and “Come Out and Play,” a heartstring-tugging standout, there was pin-drop quiet.
She laughed her way through a minor flub in the chorus of “Bad Guy,” and the front-row fans cracked up with her as she brushed it off with ease. Calling that one an audience favorite might be an understatement — members of Eilish’s young, rabid fan base down in front reacted gleefully (and loudly) to that one. But instead of trying to manage the crowd, Eilish leaned into their wildness, no longer a performer in a high-stakes recording session and instead an increasingly charismatic show woman.
During the break between recording her A and B sides, Eilish turned to the audience with an awareness of how awkward it felt to pause a performance right in the middle. “So, how’s your day?” she asked. Her face changed as she recognized a fan in the front row: “Oh my God, you brought me a puppy once! How’s he doing?” Another fan said this was their 11th time seeing her perform.
In a September issue of The New Yorker, Michael Schulman wrote an article about fandom. A line from that story — “At its core, fandom is a love story” — kept coming into my mind throughout the show. Billie Eilish is an incredibly talented singer with an uncommon range and vocal control. The vocals on set-closer “When the Party’s Over” span three octaves. “I Love You,” which Eilish described as “long and sad,” has a climbing melody similar to that of Leonard Cohen’s “Hallelujah.” But she’s not Celine Dion-ing her way through these songs, laying on melismatic flourishes. Her songs are more complex than most pop music tends to be.
Before closing the show, Eilish thanked Jack White for “inspiring a whole generation to do what they want.” I can’t think of a more succinct affirmation.”
Set List
Wish You Were Gay
All The Good Girls Go to Hell
Ocean Eyes
Bad Guy
Idontwannabeyouanymore
Bury a Friend
Come Out and Play
Copycat
I Love You
Bellyache
When the Party’s Over
STARCRAWLER
Starcrawler Casting Spells at Third Man Records
SEASON OF THE WITCH x HALLOWEEN AT THIRD MAN RECORDS
STARCRAWLER | JACUZZI BOYS | BBYMUTHA | KENT OSBOURNE | HEAT TAPE
Full story + gallery over at Nashville Scene !
S T A R C R A W L E R
T H I R D M A N R E C O R D S
N A S H V I L L E , T E N N E S S E E
Delorean 1982: In Honor of Dee
In honor of my grandmother, Dee Quirk
Thanks to my dad, Jaan, and Robbie
a dream vision becomes reality
shot on 35mm film
nashville, tennessee
