A Full House at the Empty House: Let the Makeover Begin!

On a chilly Arcadia evening, the historic Baldwin Oaks Estate stood momentarily undecided about its future. The furniture was gone, the walls were exposed, and tape replaced rugs. This was an “Empty House” party—a highly anticipated ritual ahead of the 61st Pasadena Showcase House For The Arts, where imagination replaces drywall.

Guests dined on a tower of seafood, tomato soup shooters and grilled cheese, devoured tri-tip, and enjoyed a mashed potato bar, as they strolled through the house before it undergoes its magical transformation beginning Monday.

Built in 1907, the shingle-style estate was once owned by Clara Baldwin Stocker, daughter of Elias Jackson “Lucky” Baldwin, and known for a social life that stretched both budgets and weekends. Her parties, as history has it, could last for days. The bones remain: oak paneling, a sweeping staircase, and a porch that seems designed for lingering conversations that run late.

Current owner, Pasadena physician Nirmal Kumar, remembers the house appearing almost by accident. “It was a rainy day,” he said. “We were looking in Highland Oaks, and all of a sudden we saw this in the paper.” Though he had driven the street many times, he had never noticed the house tucked behind the trees. “As soon as we drove in, I said, ‘My God—where was this hidden?’”

He and his wife bought the house in 1988 and raised their children there. Kumar, who recently moved away from the house and closer to family, said the timing finally felt right. 

“They contacted me every once in a while for the last fifteen years,” he said. This time, he reached out first. 

“I said, ‘The house will be available.’ And they said, ‘Absolutely. We love it.’”

The Pasadena Showcase House For The Arts quietly underwrites the region’s musical aspirations. Proceeds from the annual event support a constellation of organizations—youth orchestras, chamber groups, chorales, and  concert producers. The funds sustain rehearsals, scholarships, instruments, and the logistics that allow live music to keep happening, week after week, in concert halls, theaters, and school auditoriums. 

For Pasadena Showcase House president Dottie Ewing, the estate represents both a return and a reset. “We haven’t been in Arcadia for a long time,” she said, noting that the organization’s last Arcadia house never opened to the public because of COVID. “The city of Arcadia has been wonderful and cooperative. We have good neighbors. That’s an important thing.” She described this year’s house as “a virgin house for Pasadena Showcase,” adding, “We’ve never been here before.”

“This is a year where we divided the benefit chair into three different people,” Ewing explained. “Instead of one person tearing their hair out trying to get the answer to everything, each one of them is going in depth in their area.” The result, she said, is calmer—and better. “The quality of the investigation, the quality of the vendor choices, the quality of the work they’re doing is much better.”

Design coordination for the house falls to Lydia Rubin, who described her role simply: “I’m responsible for the design of the house, everything exterior and interior.” She reviewed presentations, organized selections, and assembled a team that includes thirteen designers new to Showcase alongside returning veterans. “It was a huge job,” she said, “but it’s a lot of fun.” What excites her most is the unknown. “I’m really excited to see the transformation in the house.”

Some designers gravitate toward drama; others prefer intimacy. Rebecca Hansen firmly belongs to the latter camp. “I love out-of-the-way spaces,” she said, explaining why she chose a powder room. “The small spaces, you can be more daring and more bold.” Her plan involves layered patterns, a cohesive color palette, and a sense of humor. “This year is more of me,” she said. “If I was a space, this is my personality.”

In the kitchen, Karen Billman approached the room as an emotional anchor. “I kind of walk around and try to get the feel, the atmosphere,” she said. “How do I feel in this kitchen?” Her answer leaned toward warmth. “It didn’t have enough flavor,” she said of the original space. “I wanted it to be welcoming.” Wallpaper by a local artist set the palette, guiding everything from cabinetry to marble counters. “This is the working color,” she said, gesturing to samples. “All of the colors came from this wallpaper.”

Elsewhere, first-time Showcase participants Barrett Cooke and Emily Carlin of Arterberry Cooke Architecture claimed a room most people rush through. “This room had the best windows in the entire house,” Cook said of the laundry room. “We had the idea of elevating the laundry experience.” Carlin traced their inspiration back to the home’s past. “When we looked up the history and that Clara Baldwin owned this house and had these fantastic parties, we liked the idea of creating a really beautiful artistic space that would inspire.”

Upstairs, designer Ben Nichols stood in a bedroom washed with morning light. “The proportions are so nice,” he said. “The light was streaming in—you can see Mount Wilson.” Everything in the room will be custom. “I’ve built it around this fabric,” he said, describing hand-block-printed linen sourced from India. For Nichols, the opportunity carries weight. “This is a big break for me,” he said. “I’ve always worked for other designers who got their breaks by doing show houses.”

As guests drifted through the empty rooms, it was easy to imagine Clara Baldwin Stocker surveying the scene with approval. The house, once known for excess, is again preparing for transformation—this time in service of art, music, and a very patient staircase waiting for its cue.