John Mahshie

How to Make an Entrance

When it comes to the final touches, door hardware is key.
By John Mahshie
MAR 8, 2021
Credit: Courtesy Stefan Hurray of Barnes Vanze Architects
When it comes to the final touches, door hardware is key.

I am often called upon by clients to make recommendations on what improvements they should undertake in order to make a house more appealing to buyers. The usual things that come to mind run the range of painting, cleaning, and decluttering. These are all worthy endeavors and will often result in a better sale price.

Courtesy Stefan Hurray of Barnes Vanze Architects

The one thing that sellers should not change is the original door hardware. The original knobs, escutcheons, and hinges are sometimes referred to as a house’s “jewelry,” as if the house were an aging matron and the hardware merely a strand of pearls. This is not the case. The metal that joins the door to the house is just as important as the other components that are thought of only as decorative elements.

When we bought our house, we were fortunate to have the massive, original front door, with all of its hand-wrought strap hinges, bronze nail heads, handle, and lock—all of it patinated to the kind of finish that confers gravitas on such a mature dowager. To my despair, however, the original screen door had been removed at some point prior to our ownership, only to be replaced by the kind of screen door I knew growing up. Our front door was obscured by a machine-made scrap of aluminum that stood as an unhappy, corroding, and squeaking witness to the passage of time. This was the first thing to go. A friend of mine likens this to the scene in a much-loved film where at the onset of some disagreeable weather, the protagonist hurries home to find shelter. As she attempts to open the screen door, it is carried off to the mournful, grey, and desolate landscape that Hollywood portrayed as Kansas during the Depression.

I don’t know where the current taste came from in replacing the handle with a lockset comprising both handle and lock. What was so offensive about the originals that they had to go, ultimately consigned to that vast ironmongery in the sky? Similar to the asteroid impact that killed all but the smallest creatures 65 million years ago, key escutcheons are the only things to have survived, no doubt also owing to their diminutive size. In the spirit of preservation and economy (you’ll save money if you don’t buy new ones), leave the originals in place. Unless there is a compelling reason to replace the handle and lockset (broken? rusted beyond restoration? stolen?), spend your money on some other aspect of the house that needs attention.

This same advice goes for hinges as well. They are frequently replaced for reasons that defy comprehension. I was recently involved with the sale of a very pleasing c. 1938 Tudor Revival that had many of its original details; always a treat to experience something that has been well-maintained and carefully renovated. This happened to be the second time that I offered this house for sale. The first set of sellers had proudly showed off to me the “new” hinges that they had bought for their front door in an attempt to get the house ready for sale.

Courtesy P.E. Guerin

Good-looking though they were, these brass hinges in the Eastlake style were a poor fit for their original door. Every time I opened the door, I thought I could hear them exclaiming: “Look at me! I’m old-fashioned! Aren’t I pretty?” I have no stylistic prejudices, but the choice must appropriate to the period in which the house was built. Each part of this house was designed by an architect or builder, and as such, each piece was chosen for its beauty and utility. Every member of it has a role to play in a chorus where all are singing in unison. Adding parts for no reason, or because we think it looks more “updated,” only makes for a discordant note in an otherwise harmonious composition.

One of the greatest works of architecture I have ever experienced was a plantation known as Millford near Pinewood, South Carolina. It is considered one of the finest Greek Revival houses in the United States and is known for its spectacular condition in addition to its fine collection of Duncan Phyfe furniture. While I shall never forget its breathtaking beauty and exquisite composition, my most abiding memory is of its interior door hinges -- robust pieces of hand-cast brass that only had two screws per hinge to affix them to monumental mahogany doors weighing several hundred pounds each. Doing their job admirably for more than 180 years, it’s hard to imagine their being replaced with anything from Home Depot.

You may have good reasons to replace your door hardware, but boredom should not be one of them . . . or just because it seems like an “improvement.” Need something to do? Clean out your closet.

John Mahshie has resided in the District of Columbia for more than 40 years and has had a life-long interest in architecture spanning Vitruvius through van der Rohe. He has worked on numerous renovation projects including his personal residence – a Spanish Colonial Revival built in 1926, published in Spaces magazine in 2006. His last renovation project was his winter residence in Miami Beach, Florida, where he is licensed with ONE Sotheby’s International Realty.

He has worked with esteemed architects and developers throughout the city and has sold four successful condominium projects totaling more than 100 units. A project he sold at 1401 Q Street, NW received a merit award from the American Institute of Architects, and the Washington Business Journal nominated his project for “Real Estate Deal of the Year.” He was the top individual producer at his firm for three consecutive years. As Senior Vice President, he works with the firm’s leadership and associates to increase their knowledge and understanding of American residential and commercial architecture. In 2008, he was appointed by Mayor Adrian Fenty to serve on the Board of Real Property Assessments and Appeals for the District of Columbia.

Prior to his affiliation with TTR Sotheby's International Realty from 1981 - 2002, John held positions at the Embassy of Malta and the U.S. Department of Housing and Urban Development. He served as Counsel in the Litigation Section at the Federal Deposit Insurance Corporation and was an Assistant United States Attorney in the District of Columbia. As an attorney, he has been an active member of the Virginia State Bar for the last 31 years.

John graduated from Georgetown University in 1981 with a B.S. from the School of Languages and Linguistics and studied at the American University in Cairo. He received his M.A. in Arab Studies from the School of Foreign Service at Georgetown University in 1983. In 1989, he received his J.D. from the College of Law and an M.P.A. from the Maxwell School of Citizenship and Public Affairs at Syracuse University.

He is a former board member and Chairman of the Education Committee of the Washington Mid Atlantic Chapter of the Institute of Classical Architecture and Art (ICAA). He has developed programs relating to important commercial projects for the Wharton Club, and his most recent program for the ICAA was The Legacy of the Roman Empire’s Building Traditions on the Development of Islamic Architecture in Spain, held at the Cosmos Club in 2018. In 2020, he joined the American Institute of Architects as an Associate Member.