Meet the Miniaturist Who Turned a Dollhouse into a Funeral Home!

Most dollhouses are designed to evoke warmth, comfort, and nostalgia. This one does something entirely different and was created by Massachusetts-based miniaturist Erik Haigh, from @LittlestFuneralHome on Instagram, who owns and operates ice cream parlors with his partner and shares a home with two tuxedo cats, Kiku and Louie. This miniature funeral home reimagines what a dollhouse can be. Blending dark humor, technical precision, and thoughtful reflection, the piece challenges how we interact with miniatures—pushing the hobby into unexpected, provocative territory and taking it to an entirely new level.

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Erik is a relative newcomer to the miniature world, having begun the hobby just two years ago. “I didn’t have a dollhouse growing up—though I always wanted one!” he shares. What started as a long-held curiosity quickly evolved into a bold and unconventional creative outlet.

From Classic Dollhouse to Funeral Home

The idea for the project emerged unexpectedly. Erik originally set out to build a traditional New England–style dollhouse. As he decorated the interior, his mother remarked that it resembled a funeral home. Rather than shy away from the comment, Erik embraced it. “I was instantly attracted to the idea,” he says.

That moment became the turning point—transforming a familiar domestic form into one of the most unusual dollhouse scenarios you’re likely to encounter.

Finding Meaning in the Macabre

While the subject matter may seem dark, Erik’s intention is not to shock. Instead, his work invites reflection—often with humor. “I hope people can laugh about it, most of the time,” he explains. “I realize the subject matter is dark, but I think it’s interesting to approach via a dollhouse and miniatures.”

For Erik, the funeral home becomes a way to engage with larger themes safely and thoughtfully. “Any reflection on death is a reflection on life,” he says. “I hope it can allow people a safe space to laugh, and remember to cherish every moment.”

Building the Miniature Funeral Home

The dollhouse itself dates to 1986 and was purchased on eBay. Though structurally sound, it required extensive cosmetic renovation. Erik restored and redesigned the house room by room over the course of a year, carefully transforming it into a fully functioning miniature mortuary.

Many of the most striking elements come from Northernlites Miniatures, including embalming equipment crafted by Theresa Dudley. “They are so spot-on and brilliant,” Erik says. These pieces helped define the realism and tone of the project.

In addition to sourcing specialized miniatures, Erik fabricates many components himself. He has created an eye-wash station, dissection tank, embalming fluids, and highly specific instruments used in the funeral trade.

Materials range from 3D-printed parts and aluminum sheeting to repurposed model components and hand-sculpted Sculpey. “It’s always fun to search for odds and ends to make something new,” he notes, citing an oscillating skull saw as a favorite example.

What’s Next

The piece is nearly complete, but Erik plans one final addition: a crematory. Once finished, the project will represent a full-service miniature funeral home, morgue, and crematory—an all-in-one vision rarely explored in dollhouse form.

As for future projects, Erik is keeping an open mind. “Nothing yet,” he says, “but I am eagerly awaiting my next mini obsession.”

This miniature funeral home challenges assumptions about scale, subject matter, and storytelling. It proves that dollhouses don’t have to depict idealized domestic life to be powerful. Sometimes, the most compelling miniature worlds are the ones that ask us to look a little closer—at life, memory, and the spaces in between.

To follow Erik and for more awesome photos of. his creation, head over to https://www.instagram.com/littlestfuneralhome/. Also, be sure you are signed up for my newsletter so you never miss an update or a post!

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Written/edited by Darren Scala with the assistance of AI technology!

Miniature Mystery: Inside a CLUE-Inspired Series of Room Boxes

Some miniature projects stop you mid-scroll—not because they’re flashy, but because they tap into something deeper. Memory. Nostalgia. A shared cultural moment. That’s exactly the case with this ongoing series of miniature rooms inspired by the classic board game CLUE (or Cluedo outside North America), created by a Kate Davenport Hilgenberg, a 1:12 scale home builder and interior designer from Victoria, Minnesota maker whose love of miniatures spans generations.

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“I have always loved miniatures for as long as I can remember,” she explains. “My father built me a dollhouse when I was a child in the early 1960s—and I can still see him cutting little vinyl tiles into 1-inch squares to tile the kitchen and bathroom.”

Those early memories didn’t just spark a lifelong affection; they became foundational. Decades later, when she restored that same childhood dollhouse, she built the redesign around those original tiles, preserving the quiet handiwork of her father as part of the story. It’s a sentiment that carries through all of her work—miniatures as memory-keepers, not just objects.

From Family Play to Serious Practice

Like many collectors and makers, her return to miniatures was gradual and deeply personal. The dollhouse resurfaced again when her own daughter was young, then disappeared into attics over the years—until grandchildren entered the picture. “I discovered they needed something with non-breakable furnishings, so I set out to create a dollhouse for them,” she says. “I purchased a bunch of Greenleaf punch-out furniture kits, designed a life-size bedside cabinet with doors—which my husband built—and I turned it into a dollhouse. That was it; I was hooked.”

In the fourteen years since, she has completed 25 miniature projects, each one refining her skills and expanding her ambitions. The addition of modern tools—specifically a 3D printer and a laser cutter—marked a turning point.

“The addition of a 3D printer and a laser cutter to my arsenal was game-changing,” she notes. “My goal has always been to make as much as I could for my projects, and with the help of technology, I am now able to make everything in a project—which is very satisfying.”

An Interior Designer’s Eye, in Miniature

With a degree in Interior Design and a minor in Art, followed by years working in related fields and 15 years as a professional home stager, this maker brings a practiced eye to composition, color, and spatial storytelling. “I enjoy building, crafting, and design, so this hobby checks all the boxes for me,” she says simply.

That background is evident in the CLUE rooms—not as literal replicas, but as atmospheric interpretations that feel lived-in, cinematic, and deliberate.

The Birth of the CLUE Rooms

The idea for the series came unexpectedly, sparked by a vintage birdcage purchased on Marketplace. “I was planning on creating a Conservatory,” she explains. “While working on it, I was reminded of one of my favorite childhood board games, Clue. I loved the mystery aspect of the game—but I was even more enthralled with the rooms and their exotic-sounding names.”

In the game, players navigate a mansion made up of nine rooms, six suspects, and six weapons, attempting to solve a murder by deduction. Before even finishing the Conservatory, she committed to the full vision. “Before completing the Conservatory, I decided to keep going and make all nine Clue rooms.”

Each room box shares a consistent footprint—12 x 18 inches with a 24-inch height, determined by the cutting bed of her laser cutter—and each includes a hidden weapon, placed “in plain sight,” waiting to be discovered by the viewer. “The designs are my interpretations of the rooms featured on the board,” she notes, emphasizing interpretation over replication.

A Snapshot of an Era

Unlike many contemporary miniatures, these rooms don’t rely on working lights or moving parts—and that choice is entirely intentional. “My goal is to create essentially a 3D snapshot of a space and an era,” she explains. “Although I admire miniaturists who make wonderful functioning pieces, that’s not what I do.” Because the rooms are dark and moody in palette, she opted against solid ceilings, instead using open beams—a practical decision that became an aesthetic strength. “I’m very pleased with that workaround,” she adds.

Materials & Making

The construction is as thoughtful as the concept:

• MDF structures, designed and laser-cut

• PLA filament for 3D-printed furnishings

• Mat board for select trim

• Rugs printed on velvet paper using an inkjet printer

• Hand-sewn pillows from fabric

The result is a cohesive body of work that feels tactile, architectural, and quietly immersive.

What Comes Next?

Five rooms remain: the Library (currently in progress), followed by the Study, Lounge, Kitchen, and Ballroom. The Library is expected to be completed mid-February.

As for the future of the collection? “I’m not quite sure what I will do with the Clue Rooms once they are completed,” she says. “Although I’ve been asked about selling them, I won’t decide anything until the collection is complete.”

Whatever comes next—perhaps something more modern—the CLUE rooms already stand as a compelling example of how miniatures can merge personal history, pop culture, and fine design into something entirely new. And if you find yourself peering into one of these rooms, searching for the hidden weapon, don’t be surprised if you also find yourself searching your own memories—of game nights, family tables, and the quiet thrill of mystery.

Follow Kate's Clue room box project journey and all her miniature projects at Instagram https://www.instagram.com/davenport1_12construction/

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Written by Darren Scala with the help of AI technology!

Meet the Miniaturist: Charlotte Engstrom

An intuitive approach to light, texture, and storytelling in miniature

Charlotte Engstrom is a Sweden-based miniature artist whose work feels immediately lived-in—bright yet weathered, carefully composed yet deeply instinctual. In a recent episode of Meet the Miniaturist, Charlotte shares her personal journey into miniatures, her philosophy of working without rigid plans, and the techniques behind her biggest projects to date: a Beacon Hill–style dollhouse, a modern container home, and a converted factory space.

Rather than following rules, Charlotte builds by feel—letting light, texture, and emotion guide every decision.

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Finding Miniatures Through Life’s Detours

Charlotte came to miniatures relatively recently, beginning her journey about five years ago during a period of illness that forced her to slow down and reimagine how she could create.

“I started miniatures about five years ago, so I haven’t been doing this for very long.”

What began as a way to cope soon became something far bigger. Miniatures offered her endless creative possibility—painting, building, refurbishing, and storytelling all at once.

“Everything you and I have around us—you can have in tiny, tiny size. The opportunities are actually endless.”

The Beacon Hill House: Learning by Doing

Charlotte’s Beacon Hill–style house remains her most ambitious project to date—and one she considers perpetually unfinished. She purchased the structure already half built and dark, then began transforming it with almost no plan.

“I had absolutely no idea what I was doing. And I just did it.”

Armed with basic tools, a bucket of white wall paint, and a cup of coffee, she rebuilt walls, moved windows, and worked on the interior and exterior simultaneously. The process was immersive and demanding, but deeply rewarding.

“Am I finished with the house? I will never be.”

Working Without a Fixed Plan

Charlotte doesn’t begin her projects with detailed drawings or strict end goals. Instead, she follows an intuitive path—allowing the piece to evolve as she works. “I don’t have a clear plan of the finished result. I have a path.” That openness allows her work to change direction organically.

“Sometimes the house or the furniture talks to me in another way during the process, and then I go that way instead.”

Her aesthetic reflects this freedom, blending Scandinavian brightness with subtle European influences.

“I pick a little piece of Sweden, a little piece of France, and put it together into something that’s completely my own.”

Light as the Foundation of Atmosphere

Lighting is one of the most defining elements in Charlotte’s work. Her interiors are bright, balanced, and emotionally resonant—achieved through carefully planned LED lighting.

“I go very much by the right light. I want the right feeling.” With help from her husband, Charlotte cuts and solders LED strips room by room to keep lighting clean and invisible.

“If you solder them, you don’t have LED strips lingering around. You don’t see them wrapping around the walls—and that makes a huge difference.”

Making, Refurbishing, and 3D Printing

Charlotte’s work blends refurbished commercial pieces with handmade elements. Recently, she and her husband began incorporating 3D printing into their process. One standout example is a miniature replica of a Swedish antique iron bed, digitally modeled and printed, then finished by hand. “This is a replica from a Swedish antique iron bed. It exists in the real world.” To achieve its authentic aged look, Charlotte used layered paint and real rust texture. “You can buy iron dust—it gives real texture.”

Simple Aging Techniques Anyone Can Try

Not all of Charlotte’s techniques require advanced tools. One of her favorite aging methods uses everyday materials. “Super easy, super cheap.” By dipping cotton or linen fabric into coffee and shaping it while wet, she creates naturally aged textiles perfect for scarves, bedding, or layered props.

The Container House: A Story in Miniature

Charlotte’s container home is a modern, gritty build inspired by real-life container architecture. Every surface shows wear, use, and history. “I wanted it to feel like someone living in the countryside, collecting things… maybe in some kind of survival mode.”

Packed with texture and detail, the piece reflects Charlotte’s love of storytelling through objects. “I really like doing that. It brings me joy.”

The Factory: An Evolving Creative Space

The factory began as a commercial kit, but through paint, aging, and furnishing, it became a flexible environment used for photography, staging, and experimentation. “I just do it the way I feel. It’s an ongoing project.” Charlotte uses the space as a miniature art studio—constantly reimagining its purpose and layout.

Texture, Wear, and Personal Style

While some might describe her work as gothic or industrial, Charlotte avoids labels.

“The thread through all of my work is the texture, the old, and the worn.”

She often transforms mass-produced pieces using simple methods like sanding, repainting, and distressing. “White paint and sand—that’s often all it takes.”

What’s Next

With limited space, Charlotte is looking upward for her next challenge. “I’m thinking about making some kind of tower house.” She plans to continue building furniture, creating watercolor miniatures, and collaborating with her husband on future 3D-printed pieces.

Community, Connection, and Encouragement

For Charlotte, the miniature community has been an unexpected and deeply meaningful discovery. “Learning how incredibly fantastic miniaturists there are all over the world—it’s a second world.”

Her message to newcomers is simple and welcoming: “If you’re thinking about starting the miniature hobby—welcome. It’s a fantastic place.”

Follow Charlotte Engstrom

📸 Instagram: @charlottesminiatures

Charlotte describes her work as primarily a hobby, but welcomes thoughtful inquiries via Instagram. As her projects continue to evolve, her work stands as a reminder that the most compelling miniatures are often built not from plans—but from feeling.

A BIG thank you to Charlotte for sharing her time, talents and advice for this episode. You can watch the full Meet the Miniaturist on the D. Thomas Miniatures YouTube channel (don't forget to like and subscribe!) here:

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This blog post was created and edited by Darren Scala using AI technology