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www.ArchitecturalDigest.com

THE INTERNATIONAL MAGAZINE OF DESIGN juNE 2008

American CountryHouses

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American Country Houses 118 Ted Turner

On His Armendaris Ranch Wild Animal Preserve, the Media Magnate Builds a Lodge in Tune with the Land Architecture by Chris Carson, faia Interior Design by Laura Hunt Text by Gerald Clarke Photography by Robert Reck

131 InvokIng an Ideal Romanticized Forms Pay Homage to Southern Architectural Traditions in a Historic Landscape Architecture by Ike Kligerman Barkley Interior Design by Renée O’Leary Text by Joseph Giovannini Photography by Durston Saylor

140 deer CabIn reverIe On the Wooded Shore of Flathead Lake, a One-Room Hideaway Celebrates Authentic Camp Living Interior Design by Mimi London Text by Peter Haldeman Photography by David O. Marlow

150 SeaSIde SanCTuary A Cluster of Cottages on Martha’s Vineyard Defines Simplicity and Charm Renovation Architecture by Joseph W. Dick, aia Text by Jean Strouse Photography by Richard Mandelkorn

158 Inner dIreCTed Modern Pieces Bring a Former Barn into the 21st Century Interior Design by S. Russell Groves Text by Michael Frank Photography by Scott Frances

Cover: A shingled cot-tage on Martha’s Vine-yard. Photography by Richard Mandelkorn. See page 150. above rIghT: The portale of the lodge on Ted Tur-ner’s Armendaris Ranch in New Mexico. Archi-tect Chris Carson de-signed the buildings, and Laura Hunt did the interiors. See page 118.

June 2008

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American folk art is displayed in the great room of a New Jersey house. See page 170.

170 CapTurIng TradITIonS Georgian Details and a Collection of Americana Lend a Period Feel to a New Residence Architecture by Patrick J. Burke Interior Design by David Guilmet of Bell-Guilmet Associates Text by Penelope Rowlands Photography by Durston Saylor

180 one FooT In The preSenT Reshaping the Ranch Aesthetic at the Base of the Grand Teton Architecture by Celeste Robbins, aia Interior Design by Berta Shapiro Text by Jeff Turrentine Photography by Steve Hall/Hedrich Blessing

190 proud herITage A 200-Year-Old Barn Is Born Again as a Designer’s Own Coastal Retreat Architectural and Interior Design by Ellen Denisevich-Grickis Text by Steven M. L. Aronson Photography by Richard Mandelkorn

198 FarmhouSe abSTraCTIon A Recreational Outbuilding Mirrors Its Bucolic Setting Architecture by Paul F. Shurtleff, aia Interior Design by Thad Hayes Landscape Architecture by Reed Hilderbrand Text by Joseph Giovannini Photography by Scott Frances

In rural Connecticut, a rebuilt barn has been transformed into a comfortable family re-treat. See page 158.


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Departments 18 ThIS monTh on

arChITeCTuraldIgeST.Com

26 leTTerS

34 ConTrIbuTorS

42 deSIgn noTebook: an anThology oF Folk In Upstate New York, a Collection Finds a Home in a Reinvented 18th-Century Barn Architecture by Robertson & Landers Text by John Loring Photography by Peter Aaron/Esto

58 arT noTebook: naTIve beauTIeS Eugene V. Thaw on His Extraordinary Compilation of North American Indian Works By Steven M. L. Aronson

70 hoTelS: San ySIdro ranCh Charting the Remarkable Renovation of a Storied Southern California Landmark Restoration Architecture by Appleton & Associates Text by Peter Haldeman Photography by Mary E. Nichols

82 dISCoverIeS by deSIgnerS Architectural Digest’s Editors Present Designers’ Sources

90 deSIgn noTebook: a WInnIng deSIgn For oSCar® Architectural Digest’s Green Room at the Academy Awards® Interior Design by Carleton Varney of Dorothy Draper & Company Text by Kelly Vencill Sanchez Photography by Mary E. Nichols

Finds for collectors: an 1880s game board (page 149) and a life-size wood goat of the same vintage (page 188).

96 deSIgn noTebook: SpreadIng ouT In SanTa Fe The Sprawling Rancho Alegre Rekindles the Spirit of the American West in New Mexico Architecture by Bill Tull Text by Peter Haldeman Photography by Robert Reck

106 eSTaTeS For Sale: edITorS SeleCT properTIeS around The World California, Massachusetts, Colorado, Florida …

208 ad dIreCTory A Listing of the Architects, Designers and Hotels Featured in This Issue

JuNE 2008Volume 65, Number 6

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THE INTERNATIONAL MAGAZINE OF DESIGN

VOLUME 65/NUMBER 6



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Special kudos to Robert

A. M. Stern for his proj-

ect in Seaside, Florida

(“Making a Splash in

Seaside,” April 2008).

I have always admired

the Greek Revival style for its clarity, economy and

elegance. Mr. Stern proves that the classical vocab-

ulary continues to be fresh, clever and pertinent to

contemporary life. To see such quality of design ex-

ecuted on a smaller scale was most encouraging.

— Charles G. Dobbs Hackettstown, New Jersey

coastal retreatI always enjoy my monthly copy of Archi-tectural Digest, but the April issue may be my favorite yet. In particular, I admired Robert A. M. Stern’s take on a Florida beach cottage. He brought an interest-ing and unique architectural perspective to what is a pretty standard exterior and floor plan on the southeastern coast. (The single column supporting the porch roof really catches the eye.) The detail of the wood on the walls, ceilings and floors makes this house exceptionally warm, in-viting and period in feeling, which can be difficult to instill in a brand-new house.Mark riffle ColuMbus, ohio

refuge from rockMeat Loaf’s house was just enchanting (“At Home with Meat Loaf,” April). Sim-plicity and comfort are reflected in every picture. How refreshing to hear that he leaves “rock and roll on the road.”Jean livingston little roCk, arkansas

once upon a timeThe Washington, D.C., home by José Solís Betancourt (“A Capital Respect for the Past,” April) was like something out of a fairy tale. The vines covering the brick exterior, the rich wood-paneled library with a roaring fire—the memento mori painting above the fire was a perfect fit.viCtoria brown saCraMento, California

a second chanceYears ago I visited friends living in Co-penhagen, and I avoided going to Tivoli Gardens, thinking it was a tourist trap. Of course, these days I’m kicking myself for the foolish mistake. After seeing Harry Benson’s Tivoli Gardens in the Books column (April), I ordered a copy online right away. I know you’re not supposed to judge a book by its cover, but if the im-age on the front is any indication of the contents, this book should hold me until I make it back to Denmark.MarCus sMith atlanta, georgia

sea BreezesThe La Jolla, California, residence by Wallace Cunningham was visually stun-ning (“Attuned to the View,” April). My favorite part of the house was the master suite’s lounge, which looks straight out to the ocean. And those windows—I know I would have them open all day long.nathan Moore seattle, washington

spring flingThe March 2008 issue is a great testa-ment to AD’s range. What other maga-zine could have the traditional White House as its cover and then include such an antithetical design as that of Grey-stoke Mahale—the beach resort in Tan-zania—or the progressive, clean look of the Foster + Partners house on the coast of Japan (“A Japanese Modernism”)? AD truly sticks to what it has always known: great design of all shapes and sizes.tiM hartwell houston, texas

touching on traditionIan Lambot’s photographs really cap-ture the essence of the Sagami Bay house (“A Japanese Modernism”). The bright rooms bathed in sunlight as well as the Japanese references, like Norman Foster’s interpretation of shoji screens, succeed in mating the classic with the modern. The colors are also minimalist but effec-tive, again staying true to an authentic Japanese style. It is an intriguing bayside home, indeed.DaviD korgan Charlotte, north Carolina

mellow yellowThe idyllic Tortuga Bay (Hotels, March) would be a relaxing vacation spot for any-one. Every window at the resort seems to have an ocean view, and the canary yel-low on the walls must serve as a constant reminder that you’re on vacation. I also liked reading that the designers used ma-terials from the area. It supports local ar-tisans while at the same time giving each of the villas a sense of belonging.JaniCe garza Carson City, nevaDa


Letters

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The editors invite your comments, suggestions and criticisms. Letters to the editor should include the writer’s name, address and daytime phone number and be sent by e-mail to

[email protected] or by mail to Letters, Architectural Digest, 6300 Wilshire Boulevard, Los Angeles, California 90048. Letters may be edited for length and clarity and may be published or otherwise reused in any medium.

All submissions become the property of the publication and will not be returned.

in-flight entertainmentThe 727 with the interiors by Craig Wright (“Engines Away!” February 2008) reflects the “good old days” of flying, when taking a flight meant dressed-up passengers and luxury. The flowers and the ice sculpture are nice touches. I’m sure there aren’t any baggage restrictions for flights on this plane.Jennifer Cooper albuquerque, new MexiCo

french connectionThe Toronto home in your January 2008 issue (“All in the Details”) was simple and graceful. Designers David Powell and Fenwick Bonnell created a house that looked as if it had been transported from Paris. The room that stood out the most for me was the dining room. What a beautiful picture of the doors opening up onto the elegant and airy room. I can imagine that a meal in there includes great conversation and, of course, a good glass of wine.Daphne peterson palM beaCh, floriDa

international delightWhile perusing the January issue, I came across the Kenyan retreat of Elizabeth Warner (“Making a Home in Africa”). Although the entire residence appealed to me, I was especially taken with the great room. The French doors let in an abundance of light that shows off even the smallest of details, like the geometric pattern on the area rug. Everything from the brightly colored sofa throws to the in-tricate trunk and wood table reflects Ms. Warner’s fine taste as well as her interna-tional upbringing.gail beCk baltiMore, MarylanD

all-time favoriteThe January issue has to be my choice for best cover photo ever. Dramatic and ex-otic all at once, it is simply perfect.Joel Davis st. louis, Missouri

a head startI’m 16 years old and have aspired to be an architect from a very early age. Last year my mother bought me a subscrip-tion to Architectural Digest as a Christmas gift. Since then I have found so much inspiration for my own amateur designs in your magazine. I found the Designers Tell All interviews in the January edition to be exceptionally beneficial to me and my aspirations. During the few months I have been receiving the magazine, I have visited many breathtaking places in the world through the pages of Architectural Digest. The articles help define my tastes, preferences and dislikes. Your magazine will help me prepare to be a great archi-tect before I even finish college. I plan on having a vast library of Architectural Digests in the future.niCholas ratCliff bristol, virginia

helping a first-timerThank you so much for your Design-ers Tell All section in the January issue. I recently bought my first home and have been completely overwhelmed with dec-orating tasks. The color and home office features were particularly useful. Who better to help me through this process than a panel of AD 100 designers?lynn stoCkton portlanD, oregon

prints of the pastRecently, after I purchased a Japanese print, I was reading past issues of AD when I came across the article “Art: Japa-nese Woodblock Prints.” This April 1979 story helped me to identify both the art-ist and date of my print. Thank you for a magazine that is timeless.riCharD balDwin albany, new york

A Toronto dining room designed by Powell & Bonnell (“All in the Details,” January 2008).

Letters

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Our June issue has long been one of our favorites. Poring over photographs of country houses prompts us to yearn for at least one of them. A shingled cottage overlooking the sea on Martha’s Vine-yard. A contemporary lodge nestled in Wyoming’s Grand Teton valley. A former barn in Connecticut with modern interiors. A rus-tic cabin on a lake in Montana. A 1,000-acre Virginia horse farm. A

Territorial-style ranch house in New Mexico (owned by media mogul Ted Turner). Whether it’s used on the weekends or as a full-time residence, whether it’s whimsical, classic or awe-inspiring, each offers its own perspective on the American country house ideal. We’ve been publishing this issue each June for years now, and each year we are surprised and delighted by the multifaceted creations brought to us by architects, designers and homeowners.

In this issue you’ll also find Ty Warner’s architectural restoration of the legendary San Ysidro Ranch hotel in Santa Barbara, California; a chat with Eugene Thaw about his ex-traordinary collection of Native American artworks; and an exclusive look at the Architectural Digest Green Room that Carleton Varney created for the 80th Academy Awards in the unfor-gettable style of the late, great Dorothy Draper.

To look at some of the country houses we’ve published in the past, go to our Web site, www.ArchitecturalDigest.com. You can search for residences in particular locations and view slide shows. While you’re there, be sure to check out the latest designs chosen by our senior staff at our most recent Open Auditions. And don’t forget Design for Sale, where you can find out about items available from our AD 100 designers’ signature lines—and objects from their personal collections. We’ll see you soon on our Web site.

Paige Rense, Editor-in-Chief

robert reck (“Ted Tur-ner,” page 118; “Design Note-book: Spreading Out in Santa Fe,” page 96). Albuquerque, New Mexico–based Robert Reck’s as-signments for this month’s issue kept him in his home state—and in the shadows of media tycoons. Besides shooting Rancho Alegre,

the late R. Michael Kammerer, Jr.’s Santa Fe compound, contributing photographer Reck ventured to Ted Turner’s Armendaris Ranch, which looks out to the Fra Cristobal Mountains. There he caught up with Turner, whom he had never met (although he had shot his Vermejo Park Ranch [see Architectural Digest, June 2005], also in New Mexico, a few years before), and took his portrait. Turner, he says, “was very gra-cious. Passionate about environmental issues, he is deeply concerned with energy consumption and conservation. His house is wonderful and totally appropriate for the site.” Also there was designer Laura Hunt, who took him on a tour around the ranch. “We came upon a herd of antelope, and, as a result of her skillful driving, I was able to get a great shot of them running through the desert,” he remembers.

jean strouse (“Seaside Sanctu-ary,” page 150). Contributing writer Jean Strouse has been traveling to Martha’s Vineyard since her col-lege days (“I love it in all seasons,” she confides), and she found it a particu-lar pleasure to interview Roseline and Bill Glazer, who bought and renovated a ramshackle cottage on the island. “From an early descrip-tion of the Glazers’ views, I could tell exactly where the house would be,” she says. “The location is truly

spectacular.” And she adds: “Talking with Roseline Glazer was a de- light. She cares about every inch—every floorboard, every plant, every cedar shingle—of her property, and she loves telling stories about the entire long-term project.” Asked if she would ever tackle a similar renovation, Strouse admits, “The idea of finding property in a perfect spot, with structures that need rescue and reimagining, has always greatly appealed to me. I haven’t acted on the idea, though— at least not yet.”


Contributors


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steven M. L. aronson (“Proud Heri-tage,” page 190; “Art Notebook: Native Beau-ties,” page 58). “When I drove up to see the Thaw collection of North American Indian art in Cooperstown, New York,” says contrib-uting writer Steven M. L. Aronson, “I made it a point to take along my American water spaniel. His previous owner had—with great expectations—named him Hawkeye after the tracker in James Fenimore Cooper’s Last

of the Mohicans (only to give the dog the boot when he stubbornly refused to hunt), and the Thaw collection happens to be housed in a museum on the site of Cooper’s original homestead. The director there graciously had my own Hawkeye photographed for me on the very grounds where Cooper’s Hawkeye was conceived. The Thaw collection turned out to be a revelation—what those Native Americans managed to do with a little clay, some birch bark or a bunch of porcupine quills was nothing short of a wonder to behold.”

david o. MarLow (“Deer Cabin Reverie,” page 140). “It’s very Montana and real. You just want to stoke the fire, grab a book and lie down on the couch,” contributing photographer David O. Marlow says of the cabin that Mimi Lon-don, with whom he has frequently worked, designed for Connie and Martin Stone. “She fixed it up but retained its character and didn’t make it fancy. Mimi is so versatile that she can pull off anything. She just hit a home run.” Marlow was especially delighted by a few London touches: a powder room that con-sists of a mirror tied to a tree, and feed sacks and hay bales that serve as outdoor seating. He also had a great time getting to know Connie Stone, a fellow golf enthusiast. At the moment, Marlow is in the midst of book projects for David Easton and Craig Wright.

john Loring (“Design Notebook: An Anthology of Folk,” page 42). When period structures are renovated, re-stored or repurposed, “often the experience of the building is lost. You don’t have the spirit of what it was before,” laments contrib-uting writer—and Tiffany’s de-sign director—John Loring. So it was gratifying for Loring to see the care actor Jim Dale and his wife, gallery owner Julie

Dale, and architect Malcolm Robertson took in turning an 18th-centu-ry barn into a country house in upstate New York. Their work “doesn’t deny the past of the building,” says Loring. His next book, Tiffany Style, is due out in November from publisher Harry N. Abrams.

steve haLL (“One Foot in the Present,” page 180). “I never felt like I could touch a view quite the way I could there,” photographer Steve Hall says of the vistas from the windows in a Wyoming ranch house by Celeste Robbins. Hall, who has shot projects by the archi-tect for 12 years, points out that his fellow Chicagoan was able to fluidly integrate her brand of “clean, timeless modernism, which

runs through her other work” into the residence. “She kept it simple and beautiful,” he says. Hall’s photographs appear in the monograph Ross Barney Architects: Process + Projects, from Images Publishing.

peneLope rowLands (“Capturing Traditions,” page 170). Contributing writer Penelope Rowlands sees “an inherent paradox” in a New Jersey house by architect Patrick J. Burke and designer David Guilmet for a couple with a lifelong interest in antiques. At first glance, it’s a Georgian-inspired coun-try house, within which is a museum-worthy collection of antiques and thoughtful details, including wings off the main structure built to appear as if they were later additions and a Palladian window on the second floor copied from an 18th-century example. On closer inspection, however, the resi-dence is “modern—it’s very open and light,” notes Rowlands. “Things flow perfectly.”

richard MandeLkorn (“Seaside Sanctuary,” page 150; “Proud Heritage,” page 190). Shooting a restored barn in Rhode Is-land was a uniquely poignant experience for Richard Mandelkorn. “I grew up in a barn in the hills of western Connecticut, in Litch-field County,” says the photographer, whose bedroom, from ages 10 to 18, was in what had been the hayloft. Mandelkorn has fond memories of the place, located “on the high

side of a valley at the end of a dirt road. Snow would rip down the val-ley. When the wind blew, the timbers would rattle,” he recalls. “Three-quarters of it was living space and open to the roof, with a fireplace at one end.” Though the geography was different, Mandelkorn saw plenty of similarities between his childhood house and the restored barn El-len Denisevich-Grickis and her husband, Bill Grickis, use as a summer residence. “It had the same sort of feel—open up to the ceiling, with rough-hewn beams. It’s built by hand, and you can see the cut of the ax. It takes me home.”

Contributors


Whether creating� a handsome and generously pro-

portioned country retreat out of a mid-18th-century barn skeleton of massive 40-foot hand-hewn beams or collect-ing works of folk art made from bottle caps, Popsicle sticks, pottery shards or sim-ply twigs, Julie and Jim Dale—respectively the owner of Julie Artisans’ Gallery in Manhattan

An Anthology of FolkIn Upstate New York, a Collection Finds a Home in a Reinvented 18th-Century BarnArchitecture by Robertson & Landers/Text by John Loring/Photography by Peter Aaron/Esto

Rather than build an entirely new house, actor Jim Dale and his wife, Julie, a gallery owner, opted to re-assemble the skeleton of a mid-18th-century barn on their upstate New York property. They worked with Malcolm Robertson, of Robertson and Landers Architects, to make it into a peaceful retreat.

and the popular British actor and comedian known for his roles in the Carry On films and as the voice of the Harry Potter audiobooks—are fine-tuned to the alluring charms of craft. They are keenly aware of art, objects, furnishings and, of course, architecture that transform the most humble materials into works of great personality and beauty.

Their odyssey in upstate

New York began in 1989 with the purchase of an 89-acre tract of woodlands with a 30- acre lake. A hilltop overlooking the lake was selected as the site to relocate the re-mains of a 250-year-old barn. After a fire destroyed the barn before it could be moved, they were fortunate enough to find another, from the same period and with the same footprint, continued on page 44

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that would become the core of a rural haven.

A 40-by-40-foot barn can-not, of course, accommodate a family, but the Dales wanted to keep the barn’s integrity. “To preserve the way a barn should be,” Jim Dale explains, “you build rooms on the outside, not on the inside. Conversions quite often divide a barn into various rooms and end up with a house rather than a barn.” So an architect was hired to make the barn into living spaces and to design a two-story wing on either side.

The chosen architect, Mal-

colm Robertson, of Robert-son & Landers Architects, is, like Jim Dale, from the north of England and possesses, as does Dale, a very British love of country life coupled with an innate feel for the seamless in-tegration of structure and set-ting. His youth in the unspoiled land around Newcastle upon Tyne bred an instinctive aes-thetic sense. “My architecture initiates from intuitions that I then pursue,” he explains.

That such a famous film and musical comedy star as Jim Dale and his architect saw eye to eye on the barn con-

Craft and folk art fill the residence. Above: Brightly hued ki-lims and a wearable art piece by Jean Williams Cacicedo, hang-ing above the fireplace, provide color and delineate spaces in the soaring great room. Of the layout, Julie Dale explains, “We wanted to keep it true to its original function.” Right: A striped rug by Leza McVey is on the floor of the west balcony.

continued from page 42


Design Notebook


get some light, as you do in a cathedral—light penetrating to flood into the volume—so there are a number of small windows, which, unless you’re 20 feet tall, you’re not going to be able to look out from.”

The building completed, the Dales turned their attention to the interiors. “In furnishing the barn proper, our first challenge was to adjust our ideas about scale,” recalls Julie Dale. “For the great room, we needed to think big. We started with large kilims to define areas of use and to hang on the gable ends to add color and softness to the masculine structure. Then rus- continued on page 48

“We had spent many years antiquing in England and elsewhere and shifted gears to focus on the American folk markets.”

continued from page 44version had much to do with their shared sympathy for the authentic. “We’re born with it in our DNA,” Jim Dale states.

Actor and architect agreed that using the old barn as the heart of the house would be the guide for the project. “We maintained the 18th-century flair in terms of massing and in an aesthetic that was relatively subdued,” Robertson observes. “The barn, rather than archi-tectural details, was always to be the dominant force. The windows are small, which is in line with the 18th century. However, in the central 40- foot-high space, we needed to

Above: Tucked under the roof, the mezzanine serves as a seat-ing area. Mixed with the set of rattan furniture are wood wheel models and a clown’s head garbage lid, possibly from Luna Park on Coney Island. Left: An antique penny rug is between windows in the master bedroom. The bolster is by Mario Rivoli, an artist Julie Dale represents at her gallery.

Design Notebook


tic furniture created for old Adirondack camps set the tone. We had spent many years an-tiquing in England and else-where and now shifted gears to focus on the American folk markets. As the interior per-sonality of the barn unfolded, we found that the wings took on a more playful folk attitude, while the barn proper became more camplike.”

Of the trove of objects that now fills the house, Jim Dale notes, “We’ve collected many things made by country people who used their hands to create something wonderful out of even the cheapest things. Dur-ing the 1930s, when people had no money, they took a cap off a bottle and realized they at least had a bottle cap to work with, and they could use the cork from the inside of the cap to create something else. Those country people were real art-ists. We began with one or two bottle-cap figures or cork boxes, and before we knew it, there was a collection.”

Reflecting on the project, Jim Dale muses: “It is our hope that the barn will be around for a long time to come, to show future generations what an original settlers’ barn looked

like before conversion to a three-bedroom house. It sits surrounded by flower beds overlooking the lake, no satel-lite dish to spoil the picture, all telephone and electrical cables buried underground, its now-faded red stain giving one the impression the barn has been there forever. We hope it will be.” l

Above: Planters, vases and tables decorated with pot-tery shards enliven the screen porch. The wicker and metal pieces of furniture are vintage finds. Lin-ing a wall are English Art Nouveau tiles.

beLow: The south façade. Robertson added a wing on either side of the barn but maintained, says Jim Dale, “as much as possible of the barn’s spirit.” be-Low Left: Julie and Jim Dale on the property’s 30- acre lake. “Great pains have been taken to keep the lake edge natural and undisturbed,” notes Julie Dale.

Design Notebook



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Native BeautiesEugene V. Thaw on His Extraordinary Compilation of North American Indian WorksBy Steven M. L. Aronson

there should be buses leaving ev-ery 15 minutes from every terminal and beating a path to the door of the fenimore art museum in up-state new york—that collection you gave them is something that no one who loves art can afford to miss. i was fascinated to see that a lot of the 800 arrestingly beautiful objects on hand are util-itarian, relating to warfare and hunting and harvesting and feast-ing. and a fair number of them, i learned, are incontestably the best of their kind—milestones of american indian inventiveness. ev-ery region and category of north american indian material culture is represented, from prehistory to present day. how long did it take you to put all this together? This was what I call my whirlwind collec-tion—it’s been estimated that I bought one piece every four days for 10 years.

when exactly did you promise it to the museum?In the early ’90s, and on the strength of that promise they went ahead and built an 18,000-square-foot wing to accommodate it all, which—I have to hand it to them—goes very nicely with the neo-Georgian architecture of their circa 1930 main build-ing. It’s right on the site of James Fenimore Cooper’s original farmhouse, on the shores of the lake that he gave the name Glim-merglass in a couple of his frontier novels. The real name of the lake is Otsego, which in Iroquois—and the entire Cooperstown area was once Iroquois country—means roughly “a place to come together by the water.” When the wing opened in 1995,


A Nez Perce horse mask, circa 1875–1900, features horsehair, feathers, glass beads and brass buttons.

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the Tadodaho himself—the speaker of the chiefs of the whole six-tribe Iroquois Confederacy—gave the thanksgiving ad-dress. Then another one of the chiefs did the Tree of Peace planting, speaking and singing something in Mohawk and then translating it at length into English. In the heat of a brutal summer day there in up-state New York, people began to collapse and faint, but when the chief saw all the swooning, he pointed out, “You know, this is just the short version—the regular way takes four days.”

how did you get into indian—i mean, you of all people, whose thing has always famously been old-master paintings and drawings? Well, I retired from the business of art way back in 1986. I had simply lost the joy of it—art had turned from connoisseurship into monetary value, or future monetary value, and become terribly cheapened in the process. And since then, of course, the dynamism of that aspect of the art world has increased exponentially, which is even more dispiriting. I had just enough money to retire gracefully and do what I wanted—and the market was strong, so I also made a little money. And I had my charitable foundation in New Mexico to keep me busy, which I’d created from the sale of a single painting I owned that had been on loan to the Frick for several years—Van Gogh’s upright Flowering Garden. There’s a horizontal Flowering Garden, too. That’s in the museum in The Hague.

how did you ever end up in new mexico?I was asked to appraise the art in the Geor-gia O’Keeffe estate—they wanted some-one who was not in the O’Keeffe market yet knowledgeable enough to do the job. So I went down there in April of ’86, the month after she died, and my wife, Clare, and I soon decided to buy a house in Santa Fe. I wanted to be too far away from New York to be able to commute there easily, and this was ideally that far. And ideal in other ways, too—the mountain vistas were supernally beautiful. And then, because I’m someone who needs to have something to collect, I began to look for a project where I could continue to exercise my eye—go on using it to distinguish better from worse and then the definitively best from the better. I was seeking an outlet for my collecting energies, you could say.

had you ever bought an american indian object before?No, although I remember being bowled over by René d’Harnoncourt’s “Indian Art of the United States” exhibition at the Museum of Modern Art when I was a teenager—1941, I think that was.

at least you picked a place to settle in that didn’t suffer from a lack of galleries.But the art they were selling in Santa Fe was terrible! Tourist art, for the most part. There were a few dealers in traditional Native American around, but you really had to know what you were doing, and to that end I quickly sought out my old acquaintance Ralph Coe, who had relo-cated to Santa Fe. He was someone I had done business with when he was the direc-tor of the great Nelson-Atkins Museum of Art in Kansas City—I’d sold him that famous Monet that was in the first Im-pressionist exhibition of 1874, Boulevard des Capucines. Anyway, “Ted” knew his way around American Indian art as both collector and scholar—he had, after all, organized the “Sacred Circles” bicenten-nial exhibition that covered 2,000 years of the stuff.

he’s recounted how he advised you that there were great things to be had in this field that were “the products of cultures as complete and rounded, and as challenging



above: The Tsimshian used carved and painted maple and abalone shell for a circa 1840–70 frontlet. right: An Ojibwa bandolier bag, circa 1870, is made of cot-ton, wool yarn, velvet and glass beads.

above: A circa 1450–1500 poly-chrome vessel was discovered at the Sikyatki pueblo in north-eastern Arizona in the 1960s.

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to a connoisseur, as any you might have dealt with.” and around the same time, you told me, some other great authority called your at-tention to a diary entry made by dÜrer in 1520 expressing his amaze-ment at the aztec featherwork that cortÉs had sent back to charles v. did you get all fired up by any of this?I realized that I was going to have to see for myself. And, as always with me, aes-thetic quality would be the deciding fac-tor. I was determined to look at American Indian material as art, not ethnography—ethnography would be the last consider-ation, in fact. You have to look at the ob-ject itself, separately and apart, and have it be the chief guide to its own being, as it were. Whatever status it might enjoy as an example of Native American lifeways, you have to evaluate it clearly and coldly as art and forget all about context, put ar-chaeology and anthropology totally aside. Which is why this collection reflects my aesthetic sensibility as surely as any of my others. Because what I ultimately discov-ered was that American Indian could hold its own with any art anywhere—it could stand alongside Asian, African, Egyptian, European and Maori masterpieces.

you’re saying that a great ameri-can indian object can be the equal of an old-master or impres-sionist painting or an object from antiquity?Oh, absolutely. And by the way, they’re priced like that—pretty much so—now. The market has changed a lot—it’s less lively, there are fewer players, but the prices have gotten way out of line. The good things have really taken off. A mask that, when I began collecting, cost me $100,000—a similar one went just now for $1.8 million. And in Paris, at the auction house Drouot, I spent around $375,000—at the time the world-record price for an American Indian art object—for an 18th-century Tlingit war helmet with a fantastic bird’s head carved in wood on top and a crest of bristly human hair that today would be bound to fetch well over a million.

how did you manage to refocus your so-called “european” eye?There are standard aesthetic principles that can be applied to the work of all civili-zations. An eye is an eye is an eye, whatever you train it on, and I was able to teach my-self to read the visual language of Indian art. It’s all the same business, really—of looking for quality, for depth of expres-

sion, for workmanship, craftsmanship, art-istry. Surface appearance—patina—was an important consideration, too, every bit as much as it would be in Greek and Roman or medieval art: the effect of wear on ivory or metal or copper after hundreds or thou-sands of years of handling. A lot of Indian art is fugitive and fragile. Weavings, for instance. And things that were done with porcupine-quill coloring—two weeks in the light and they fade, so you want to try and find pieces where the color’s not all washed out.

what was your first acquisition?Clare spotted an attractive Victorian bead-ed pillow sham in a local shop. It turned out to be of Athabascan origin—later we found it reproduced in color in a cata-logue. We’d bought it for only $500. As it was emblazoned with the American flag, I decided to buy some more flag-embel-lished stuff to try to make that a theme: a pair of Sioux leggings, a beaded Sioux violin case from 1899, and on and on until we had over 50 objects. I became known in the trade as the flag man! It had just snowballed—we’d gotten excited by the fact that you could still find things, you know. Then I branched out and bought a wonderfully carved Makah mask, and

left: Buckskin, glass beads and tin cones distinguish a circa 1895 girl’s dress by the Teton Sioux. above: The Hurons in Que-bec made moccasins from black-dyed hide, moose hair and silk, 1847–53.


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that paved the way for many Northwest Coast purchases. And then an Aleutian Is-lands lidded basket that was just superbly worked—so closely woven it could pass for linen. And a sensational Plateau horse mask with a clutch of red-shafted-flicker feathers on top and a mane of horsehair attached along the back. And then a mas-sive 18th-century eastern Great Lakes burl maple feast bowl that had been deacces-sioned from the Wadsworth Atheneum in Hartford. I was off and running.

where did you find all these things? It’s a fairly small world, the world of the American Indian collectors and dealers, and your name gets out there. I began to acquire market recognition as someone who might want the great pieces that could surface at any time from God knows where. And also, some of my academic friends, experts in the field, would tip me off if something especially fine was coming up at auction. I’d make up my own mind about whether or not to buy it—it was my taste and my judgment—but I did like to get recommendations.

I also compiled quite a library on the subject. And I visited museums all over the world—I told you, I was revved up—to look at the greatest examples of things and learn major object types. The wonderful museum at the University of British Co-lumbia at Vancouver had an open-storage gallery where the part of its collection that was not on display was still visible to the

public, and later I proposed that the open storage in the Fenimore wing be modeled on that.

i guess one really has to know a field before one can own it. did your old dealer friends think you had taken leave of your aesthetic senses when you began collecting american indian in earnest?No, no, they understood that it wasn’t bows and arrows I was collecting. Someone like Bill Acquavella, when I told him, said, “Just make sure you end up having the best collection.” And I like to think I did. The best collection formed in my generation, at any rate. What helped move it along in that direction was when I got the chance to buy a beautiful group of 14 Northwest Coast objects from the Chicago collector Stefan Edlis in the late '80s.

he’s been in the news lately—for selling warhol’s turquoise marilyn for $80 million to one of those bil-lionaire hedge-fund guys, and also for maybe being the anonymous buyer at auction of a $40 million–plus bacon self-portrait.Well, it was his Indian things certainly that put me in a different category. All of a sudden I was the owner of masterworks, major historic pieces—take that Tsimshian frontlet headdress with the face of a thun-derbird and the nose that’s all marvelously beaked and curled, or that Tlingit clan hat made of wood. Now that’s a magnifi-

cent thing: There are sea lion whiskers set into the edge of the visor, abalone shell inlaid in the eyes and an ancestral-crest image of a bear with upright paws all sheathed in copper. As you can tell, I’m more strongly drawn to objects that are sculptural, three-dimensional—and there the great Northwest Coast carvings and Eskimo masks take precedent—than I am, let’s say, to beadwork and quilts and Plains material.

tell me about some of your other large-scale collecting coups.Another big one was a multimillion-dollar en-bloc purchase from the man who was without question the best private dealer in American Indian art, George Terasaki. Some of my greatest treasures—especially, again, Northwest Coast, which is the high-est Indian art—came from him. He had an apartment on East 78th Street, right off Madison, in a building that at one time I operated out of the ground floor of, myself. He was difficult, but I was able to make packages of things a couple of times with him—buy a group of objects. Paying too much, of course, but not as much too much as he’d originally wanted. These were marathon negotiating sessions—we wound up having to employ a go-between, who managed to get each of us to bend, George to come down enough and me to come up enough. But whatever the sting, it was worth it. How do you put a price, for instance, on something as unique as


above: Dat So La Lee’s 1904–5 basket is constructed of western redbud and bracken root. right: A Micmac wool, glass bead and silk pouch, circa 1840–50.

Collector, dealer, educator and philanthro-pist Eugene V. Thaw (above) amassed one of the world’s most important Native American art collections and then gave it to Coopers-town, New York’s Fenimore Art Museum..

Art Notebook



an articulated raven mask where the carv-ing of the upper and lower mandibles and the delineation of the eyebrows are out of this world? Or a pipe that depicts in the most painstaking detail a large bear devouring a cadaverous shaman? Not to mention some incomparable bowls and staggeringly beautiful daggers.

And on the heels of this, I succeeded in buying another core collection: 17 Cana-dian Woodlands objects in mint condition, all of them bright and unfaded, including a pair of Micmac moccasins with moose-hair embroidery, and a birchbark canoe model with paddler. These came from the 11th Earl of Elgin—straight out of a trunk full of artifacts in the attic of one of his castles in Scotland. His great-grandfather, the eighth earl, was governor general of Canada in the mid–19th century and was given most of these things as presentation pieces by the Native peoples.

what made you decide to give all this precious, if not priceless, material away?Once it reached a certain mass—when I had about 300 pieces of high quality and our house was positively overflowing with the stuff, and I mean walls, drawers, floors, tabletops, bookshelves—we began trying to find the right home for it. Its final resting place, if you will. Clare and I were never comfortable with the idea of a lovingly assembled collection such as ours being dispersed at auction after we were gone. We decided to give it to the New York State Historical Association in Cooperstown because their crown jewel, the Fenimore Art Museum, already had a considerable collection of folk art and American 19th century. Frankly, it would be hard to envision a more ideal destina-tion for it—the place had geographical, historical and, through James Fenimore Cooper’s epic novels, literary ties to the American Indian. And besides, we had maintained a large farm in the area our-selves for many years. The architect Hugh Hardy was chosen to do the wing—he’d designed a building nearby for the Glim-merglass Opera, where I was on the board at the time.

and you continued collecting.And how! Up to this point we had col-lected only those objects that appealed to

us personally, but now that we were going public, so to speak, we had to broaden and expand, fill in the holes, buy the greatest examples from every region and period. So then I really went to town—I went on a binge and bought far more strenuously than I had when I was buying merely for myself.

what sort of stuff did you buy?I added considerably to my southwest-ern holdings by acquiring the Santa Fe art dealer Gerald Peters’s personal col-lection of Pueblo and Navajo weavings, among them a first-phase chief’s blanket of such quality that it would surely have cost as much as 50 horses when it was made. There was one that turned up on—I don’t know if you ever watch that stupid program on public television—Antiques Roadshow. Somebody brought in a chief’s blanket that they just had sort of over a chair in their house, and they were flab-bergasted when they were informed that it was worth half a million dollars and that they had a national treasure. And then when I discovered that the Taylor Museum in Colorado Springs wanted to deaccession their Northwest Coast art in order to concentrate on the South-west, which was the area they served, I snapped it all up. This got me, among some other fine things, the famous Kwa- kiutl potlatch figure of a man gesturing with the index finger of his right hand and holding a copper shield against his chest with his left.

did you find any memorable masks?I did get my hands on a distinguished group of Eskimo specimens, including a couple of pairs of exquisite miniature fin-ger masks. The women, you see, weren’t permitted to dance barehanded when they petitioned the gods for things like abun-dance for the coming year—they had to hold a mask in each hand. As part of the temptation for me to buy them—and they were expensive—the hopeful seller pulled out a big French book of Eskimo masks that featured them, along with masks from the collection of André Breton, one of the founders of Surrealism. American Indian material was popular with the Surrealists, you know—Max Ernst and Paul Éluard also had important collections.


Art Notebook


did you manage to get hold of any great baskets?I have the most fantastic basket. I bought it from the grandson of a Pittsburgh steel magnate who had paid so much for it in 1914 that it made all the papers—$1,400, believe me, was an unprecedented sum then for an Indian basket. It’s Washoe—that’s the tribe—and it was woven, 30 stitches per linear inch, by … Well, Lou-isa Keyser was her American name—her Native name was Dat So La Lee, which I was told means “big hips.” She’s the most famous Native basket weaver of North America, and this is her most famous basket, the most historically significant basket of her career. It’s known as Beacon Lights. The design is a scatter pattern of crosses repeated in rows. The crosses symbolize light or heat, and the wavy lines around them rep-resent flames—supposedly to commemorate the big signal fires that the Washoes built in the mountains to call members of the tribe together in coun-cil from far and wide. A basket like that is worth over a million dollars today.

i was particularly enthralled by the bound book of dream drawings by the sioux chief black hawk.That’s a world masterpiece—probably as fine as any ledger book in existence. I’d been looking for a long time for one of those complete books of an Indian draftsman. This one is from the 1880s and has depictions of Native social and religious life as well as studies of local natural history. It’s all done in pencil and crayon in a flat pictographic style so unlike the tradition of Renaissance to modern drawing, which has shading and perspective

continued from page 66and all of that. It came up at Sotheby’s in 1994 and went for the second-highest price ever paid for Indian art at the time—almost $400,000. I was the underbidder. But when the buyer told me that he was go-ing to break the book up and sell the drawings separately, because that was the only way to recoup his investment, I of-fered him 10 percent profit, and he took it.

it says somewhere that you took great care to avoid anything directly associated with human remains.Yeah, on the grounds that anything involved with an actual physical burial should stay there. Where it belongs. Native Americans have asked many museums to return their skeletons to them—along with the goods that were found with them. And we have nothing like that. We weren’t going to shoot ourselves in the foot by having stuff like that.

did you keep anything back for yourself?I have a few baskets in the house, and one or two pieces of local pottery. They’ll even-tually go to the museum, too.

you will then have shared absolutely every-thing.It’s the Indians, rather, who will have—they have so much to share with all of us. My hope has always been that the collection can serve as an in-spiration to carry respect forward. We are at the beginning of this chain, not the end—and that’s an optimistic place to be. l

Visit ArchitecturalDigest.com for the 10 Steven M. L. Aronson interviews with Eugene V. Thaw that have been published to date.

Art Notebook


It’s the kind of place where people check in with their pugs—registering the little

darlings as Jack and Jackie in the guest book—and where fellow guests will recognize both the dogs’ famous namesakes and the fact that the 35th Amer- ican president and his wife honeymooned here. Such is the lore surrounding the San Ysidro Ranch, a fairy-tale-pic-turesque resort in Santa Bar-bara, California, that was once owned by film star Ronald Colman, hosted the nuptials of Vivien Leigh and Laurence Olivier and has inspired writ-ers from Somerset Maugham to Sinclair Lewis. San Ysidro’s 19th-century history as a citrus ranch only adds to the nostal-gia and romance that hover over the place like the scent of navel orange blossoms.

If, by the end of the 20th cen-tury, its historic stone build-

San Ysidro RanchCharting the Remarkable Renovation of a Storied Southern California LandmarkRestoration Architecture by Appleton & Associates/Text by Peter Haldeman/Photography by Mary E. Nichols

ings, storybook cottages and rambling gardens were be-ginning to look a little shabby, the ranch was beloved enough that visitors were willing to overlook its flaws. San Ysidro was sort of like everyone’s fa-vorite maiden aunt, the one with the good bones and the slightly ratty sweaters. In 2000 the property was purchased by Ty Warner, the so-called Beanie Baby billionaire, whose plans to renovate the place sparked concern among the faithful that any “improve-ments” would compromise its understated charms. They can breathe again. Auntie has emerged from a three-year, $150 million face-lift—and, frankly, she looks amazing.

Warner interviewed a num-ber of architects for the job, but it’s hard to imagine a more likely candidate than Marc

Purchased by Ty Warner in 2000, San Ysidro Ranch in Santa Barbara, Cali-fornia, has undergone a three-year renovation by architect Marc Appleton. “My vision was to make the needed improvements without changing its in-nate character,” says Warner. Above: Appleton opened up the reception cottage, called the Hacienda, to the surrounding garden. Right: Olive trees and lavender line the new entrance drive.


Hotels


Appleton. Appleton, whose grandparents commissioned architect George Washington Smith to build one of the fin-est Spanish Colonial Revival houses in Santa Barbara and who has fond memories of dining at the ranch as a boy, has made the restoration and construction of period revival residences in California and elsewhere the cornerstone of his career. When he was ap-proached by Warner, he ar-ticulated two key concepts. “I said that I felt a successful project would be one where those familiar with the ranch would come back and be a little confused as to what was new and what was old. The second thing was that I felt this was more of a landscape project, almost, than an architectural one. Because I think what guests at the ranch come away

top: Appleton and project architect Ken Mineau reworked the entrance to the Stonehouse restaurant and the Plow & An-gel bar and restaurant just below and created a new terrace, at right, with “radiant heating and a fireplace and great ocean and mountain views,” notes Appleton. Above: Patio dining.

Right: The 1825 Adobe is the oldest building at the ranch and a California historic landmark. “We very gingerly made some minor repairs and did some structural work,” Appleton says.



“What guests at the ranch come away with is this marvelous setting with the gardens and trees.”

Hotels


nia ranch house, with board-and-batten siding and pitched shingle roofs. To make them more private and intimate, Appleton designed entrance courtyards and enlarged pa-tios. Amenities like spas and indoor-outdoor showers were

installed, but not at the expense of character. The footprints of the bungalows were main-tained, and their homey hall-marks (exposed beams, stone fireplaces) still enchant.

The ranch’s two restaurants were given a new kitchen, and

“We preserved the architectural fea-tures of the cottages,” Appleton remarks. Above: Lilac, a one-bed-room cottage. “The garden was a constant element of almost every-thing,” says the architect, who col-laborated with landscape consultants Laurie Lewis, Sally Paul and James Hyatt on the renovation. Right: A fireplace warms Willow Cottage.

the sandstone structure that houses them was refreshed. Appleton replaced its old wood deck with a stone terrace that matches the building’s exterior and takes full advantage of the ranch’s ocean and mountain



with is this marvelous setting with the gardens and trees.”

At the same time, the archi-tect harbored no illusions re-garding the scope of the job: “There isn’t a single building that wasn’t totally restored or, in some cases, rebuilt entirely.” He is quick to credit Warner’s commitment to the project. “It’s rare that a client as busy as he is gives the time to cham-pion such high quality or be-comes as personally involved in the details as he did.”

The cottages scattered around the property (two were added, for a total of 41) were taken down to the studs and “brought into the same mode” of the classic Califor-

Hotels


views. Under the terrace he put in a private dining room styled after a wine cave, and under the dining room he in-stalled a 5,000-bottle wine cel-lar. The historic ranch houses that function, respectively, as the reception area and a sec-ond private dining room were invisibly restored.

As Appleton intended, it’s the improvements to the grounds that you notice first and last. Now you make the turn off San Ysidro Lane onto a gravel drive that winds below a dreamy canopy of gnarled olive trees underplanted with drifts of lavender. “It was part of our concept that we were reminding you of the agricul-tural beginnings of the ranch,”

Above Left: A bedroom of the restored Kennedy Cottage, where Jacqueline and John Kennedy honeymooned in 1953. Above Right: A clawfoot tub in Eucalyptus Cottage. All of the cottages were outfitted with new bath fixtures and tile. Some also offer indoor-outdoor showers. Left: The new Laurel Cottage has a creekside terrace with a spa. “We redesigned the roadway and the landscaping, so there’s an increased sense of privacy,” says Appleton.

he explains. With the assistance of landscape consultants Lau-rie Lewis, Sally Paul and James Hyatt, he expanded the prop-erty’s citrus groves and herb and vegetable gardens and enhanced the central garden with a new lily pond and rose arbor. War-ner selected oaks and peppers to supplement existing speci-mens, and the premises have been replanted with highly fra-grant perennials. Surely Cali-fornia’s agrarian past was never this pretty—but then, mythol-ogizing the state’s history is as old as the state itself. l


San Ysidro Ranch

800-368-6788 www.sanysidroranch.com

Hotels


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Bank on ItA circa 1860 chalkware bank, $1,250, in the shape of a dove, offered by Hamilton, Ohio, dealers Claude and Sharon Baker (www.claudeand sharonbaker.com; 513-726-5496) is a rare survivor—most were broken open to retrieve the saved money.

Rock and RollBrazilian designer José Zanine Cal-das is perhaps best known for the furniture he sculpted from salvaged wood. In San Francisco, Hedge (www.hedgegallery.com; 415-433- 2233) has a circa 1970 tête-à-tête rocker of reclaimed pequi, $32,000.

Discoveries by Designers Architectural Digest’s Editors Present Designers’ Sources

A Bed in the BerkshiresTopping out at over six feet, a bed, $8,900, at Le Trianon is

a tour de force of wickerwork. The American piece, produced

around 1900, when wicker furniture was seeing a surge in popu-

larity, features intricate decoration, from the delicate scrolls

running along the canopy to the panels on each end that seem

to suggest a peacock’s tail.

Le Trianon, 1854 N. Main St., Sheffield, MA 01257 413-528-0775; www.letrianon.1stdibs.com

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SchumacherGood Day Sunshine is a printed linen in the Schu-macher (800-523-1200; www.fschumacher.com) Modern Collection; it comes in black and white, flamingo, spring and china blue (shown).

Discoveries by Designers Architectural Digest’s Editors Present Designers’ Sources


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Quite a PairNew York’s Tribeca neighborhood is home to Mondo Cane and its well-edited array of mid-20th-century furniture and

accessories. Of particular note is a deceptively simple pair of

bentwood-and-bamboo cantilevered chairs, $18,500, attributed

to the legendary Charlotte Perriand.

Mondo Cane Inc., 174 Duane St., New York, NY 10013 212-219-9244; www.mondocane.com

Carpet of FlowersThe tree of life, a folk art motif that recurs across cultures, appears on a nearly three-by-five-foot 1930–40 American hooked rug, $1,675, from A Bird in Hand Antiques (www.a birdinhand.com; 973-410-0077) in Florham Park, New Jersey.

Found MarblesIn Brooklyn, New York, S. Scott Powers Antiques (www.burlsnuff .com; 718-625-1715) has a circa 1860 stoneware basket filled with 50 1.25-inch-diameter Bennington mar-bles, $3,600 for the basket and marbles; $3,100 for the basket only.

At Scalamandré (800- 932-4361; www.scala mandre.com), Raj Bo-tanica is a floral union cloth, with background colors of ivory, soft blue, Indian yellow and Madras pink (shown).

Scalamandré

Discoveries by Designers AD’s Editors Present Designers’ Sources



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Big Top MemoriesTella Kitchen, an artist often compared to Grandma Moses, was born

in Vinton, Ohio, and later moved to Attica, Indiana. Sometime in

the 1960s or ’70s she painted the oil Circus in Town, $8,200, based on

her memories of one that came through Attica when she was a

child. The work, at Canup Antiques, captures the excitement of

the event in the figures’ animated gestures.

Canup Antiques, 828-743-9435; www.canupantiques.com

Lee JofaConjuring up old Eu-ropean wall paintings, Vintage Fresco is a printed linen available in champagne and pale aqua from Lee Jofa (800-453-3563; www .leejofa.com).

How BizarreToronto’s 20th Century Objects (www.20thcenturyobjects.com; 416- 617-9119) has a fine example of a 1930s Clarice Cliff Bizarre vase, $2,800. The English potter’s output was typified by imaginative interpre-tations of the Art Déco aesthetic.

Abstract floral designs and a striking combination of colors distinguish a Cliff vase.

Obsolete (www.obsoleteinc.com; 310-399-0024), of Venice, Califor-nia, has a delightful—and expres-sive—1920–30 American whirligig of a man riding a bicycle, $3,800. When the wind hits him, his legs move the pedals.

Rider on the Wind




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Let’s Bowl!Bowling sets, such as one, $195, at Houston’s Helen Warren

Spector Antiques, were popular in the United States

from the early 20th century until the 1940s. The pins measure

just under six inches tall each and were likely used indoors.

Helen Warren Spector Antiques, 713-927-6444 www.helenspector.com

Right DirectionDating from the early 1800s, a wa-tercolor of a mariner’s compass, $2,350, at the Wiscassett, Maine, gal-lery Stauble & Chambers Antiques (www.staublechambersantiques .com; 207-882-6341), is notable for its bold primary colors.




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By Firstname Lasttktkt

Most designers faced with the prospect of having just five weeks to complete a job that’s

key to one of the biggest events of the year could be forgiven if they opted to turn and run the other way. But Carleton Varney has never been like most designers. “It can always be done,” he says simply.

The indefatigable Varney was about to board a plane when he got a call from Architectural Digest editor-in-chief Paige Rense asking if he would like to design the magazine’s green room for this year’s Academy Awards. “Paige and I, we go back a while, and she’d seen the work I’d done for Joan Crawford and other stars,” he re-calls. “I told her yes, indeed, I would!”

There was no question about the design concept. “We wanted to give it the early Hollywood look,” Varney notes, “when movie stars were movie stars.”

The president and owner of Dorothy Draper & Company didn’t have to look far for inspiration. His green room pays exu-berant homage to four of Draper’s most notable projects—California’s Arrowhead Springs Hotel, the Quitandinha Palace & Casino Resort in Brazil, the Camellia House at Chicago’s Drake Hotel and New York’s Hampshire House.

No one did glamour quite like Doro-thy Draper. The legendary decorator, who once pronounced, “the Drab Age is over,”

Left: Backstage at the Kodak Theatre in Los Angeles, Carleton Var-ney, of Dorothy Draper & Company, evoked Old Hollywood glam-our in the Architectural Digest Green Room, which he created for the 80th annual Acad-emy Awards. The ped-estal table, foreground, is an original Draper design, as is the sconce; the doors and chande-lier are Draper replicas. BeLow: A life-size Os-car is at the entrance. Nourison carpet.


Interior Design by Carleton Varney of Dorothy Draper & Company Text by Kelly Vencill Sanchez/Photography by Mary E. Nichols

Design Notebook

A Winning Design for Oscar®

Architectural Digest’s Green Room at the Academy Awards®


ABove: Varney. Left: The bar was inspired by a Draper design. Lamps, banquette, slipper chair and leather on bar, Kravet. Carleton Varney by the Yard floral fabric; Carleton V green silk.

“This was a fantasy space,” notes Varney. ABove: A seating area. The mirror and lamps are also vintage Draper pieces. He adapted the dishes and glassware from Draper designs. LG televisions, at Abt.com. White satin, red Ultrasuede, sofa fringe, sofa and tufted chairs, Kravet. Low table and rattan chairs from Ficks Reed. ABove Right: The entrance. Table and benches, Kravet.

was never one for the modest gesture. Rococo-style moldings, black-and-white-marble floors and overscale floral prints in vivid hues—all were part of her stylishly dramatic vocabulary.

The Architectural Digest Green Room, which Varney likens to “a set from a 20th-Century Fox musical,” is crisply theatrical and marked by bold colors and patterns. There are lacquered double doors and a floor stenciled in a checkerboard design. Mottled aubergine walls are offset by a glossy white wainscoting and oversize crown moldings. There’s a tufted-black-leather bar and luxurious fabrics: white satin, lipstick-red Ultrasuede and a bright green banana-leaf damask. A Dorothy Draper print adds a vibrant floral note.

While many of the furnishings are re-productions, others are original Draper pieces, such as the baroque sconce and the palm-tree lamps.

The room was to sit just offstage at Hol-lywood’s Kodak Theatre and needed to


accommodate between 25 and 30 people. Measuring approximately 40 by 20 feet, it was more or less the size of a New York City living room.

But most living rooms have things like walls, a ceiling, electrical outlets. The green room had to be constructed in its entirety at the ABC television studios before it was dismantled and rebuilt at the Kodak.

It took the set builders about four days to create the bones of the space, and then the carpentry, electrical, painting and drapery departments performed their du-ties. The move to the Kodak proved a bit

more complicated. The room was a foot and a half over the fire exit doors and had to be tweaked to fit. In the end, the various departments worked feverishly to pull the room together on time.

By all accounts, the green room was an enormous success, and Varney is pleased that he can bring back glamour to interior design. “We live in a beige-and-gray world. We need a sparkle, a way to make people smile again. That’s what it’s all about.” l

Visit www.ArchitecturalDigest.com to see more Oscar-related features.

Design Notebook


He was raised in the relatively civilized environs of Westhamp-ton Beach, on Long Island, em-

barked upon an auspicious career on Madison Avenue and, in 1983, launched the Independent Television Network, which would become the largest supplier of non-network prime-time advertising in the country. But R. Michael Kam-merer, Jr., who died last year at the age of 67, was probably closer in spirit to John Wayne than to Donald Trump. “He was definitely more comfortable in jeans and a cowboy hat than a business suit,” says his son, Rudy Kammerer. “My dad fell in love with the West through Hollywood movies and reading western writers like Zane Grey and Louis L’Amour. He was just fascinated with those tales of heroism and adventure.”

For a while R. Michael Kammerer suc-cessfully juggled his communications em-

Spreading Out in Santa FeThe Sprawling Rancho Alegre Rekindles the Spirit of the American West in New MexicoArchitecture by Bill Tull/Text by Peter Haldeman/Photography by Robert Reck

Above: The compound that architect Bill Tull designed for the late R. Mi-chael Kammerer, Jr., in Santa Fe reflects the owner’s love of southwestern art and architecture. below: The sunroom, originally intended to be a pa-tio, was enclosed with a bóveda ceiling and doubles as a gallery space. A feather motif by potter Maria Martinez inspired the granite floor detail.


Design Notebook


pire and cowpoke enthusiasms. Around the time he started ITN, he bought a 200-acre property in upstate New York, where he built a log cabin and ran one of the largest beef cattle operations in the area. In 1991 he retired from managing ITN, moved with his wife to Carefree, Arizona, and indulged his inner Slim Pick-ens by learning the art of competitive team roping. Three years later—after di-vorcing his first wife and meeting his second—he purchased 175 acres of pas-tureland between the Ortiz and Sangre de Cristo mountain ranges in Santa Fe and hired the Scottsdale, Arizona–based archi-tect Bill Tull to build Rancho Alegre, his western Shangri-la.

“They made an intense study of Santa Fe architecture and who the best crafts-people and practitioners were,” says Rudy Kammerer. Siting the house against the backdrop of the Ortiz Mountains, Tull de-signed a sprawling pueblo-style compound that, while grand in scale, speaks the local vernacular. Its most prominent features are a stone torréon, or tower, and a santuario, or chapel, around which the architect built a Mexican-style plaza. Tull was exacting

left: Paintings by Roy Anderson and saddles by Edward H. Bohlin are displayed in the saddle room. below: Native American weavings line a wall of the second-floor stairwell. “Western history—that’s the stuff my dad loved,” says Kammerer’s son, Rudy. “He started with small bronzes, but he became a more sophisticated collector when he made the move to Santa Fe.”

The house is filled with superb paintings by Taos School artists, Native American rugs and pottery, and western collectibles, from chaps to bridles to rifles.


Above: In the dining room, a custom-made chandelier hangs from wood beams that were smoked to give them a dark patina. The lighted niche is a Tull signature. The bronzes on the windowsill are by Dave McGary.

Design Notebook



that the former adman championed. One proceeds under the vaulted ceiling of the entrance to the living room, an impres-sive space with 20-foot ceilings and hand-carved beams that Rudy Kammerer says craftsmen spent half a year on their backs completing. Off one end of the room, a sunroom has travertine-and-black-granite

Left: Cowboy chaps dating to the early 1900s and flags deco-rate the walls of the office. The safe door, covered in leather, was hand-carved with a Code of the West de-sign. The bronzes are by Herb Mignery.

Above: Replicas of Plains Indian chiefs’ clothing are displayed in the confer-ence room. Cathy A. Smith, who designed the costumes for Dances with Wolves, “spent three years creating the collection,” says Kammerer. “Every detail is authentic.” Left: Turquoise pieces in a stone jewelry case.

when it came to building methods and ma-terials, whether he was using three layers of adobe bricks in the walls or retaining master stonemason John Morris to lay the Arizona flagstone floors.

R. Michael Kammerer had started col-lecting small bronzes by western artist Herb Mignery back in Albany, and by the

time Rancho Alegre was completed, he had assembled museum-quality collections of western paintings, Native American art and artifacts, and pioneer memora-bilia. Visitors to the house are greeted outside by Mignery’s bronze sculpture of two cowboys shaking hands, along with a plaque titled Code of the West, describ-ing the commonsense frontier values



Design Notebook



Siting the house against the backdrop of the OrtizMountains, Tull designed a pueblo-style compound that,while grand in scale, speaks the local vernacular.

Above: “It’s the kind of room that makes people’s jaws drop,” Kammerer says of the master bath. Stonemason John Morris modeled the space af-ter the pueblos at Chaco Canyon. “The layering of rocks and the vigas and latillas are what the Anasazi used. An archaeologist took photos and enlarged them so the design could be replicated.”

top: The cantina was dubbed “La Tinaja de Mi-guel, or Michael’s Watering Hole,” says Kammer-er. Right: To further Rancho Alegre’s authentic look, Tull anchored the compound with a stone tower. Black-walnut doors mark the entrance.

floors featuring an American eagle-feath-er motif. A cantina situated off the other end of the room, “where things tended to end up late at night,” was inspired by a 300-year-old Spanish cowboy bar.

But the “jewel of the house,” according to Rudy Kammerer, is the master bath. Here John Morris has fashioned a tribute to Chaco Canyon—the Anasazi ruins in New Mexico’s San Juan Basin. The bath’s banded sandstone walls, viga-and-latilla ceiling and petroglyph-like etchings all re-call the astonishing skills of the Puebloans. Of course, the Anasazi didn’t enjoy free-standing pedestal showers or Roman tubs, but then the Anasazi didn’t revolutionize television advertising.

R. Michael Kammerer continued to develop his collections at Rancho Alegre. The house is filled with superb paintings by Taos School artists, Native American rugs and pottery, and western collect-ibles, from chaps to bridles to rifles. The saddle room exhibits the workmanship of masters like Edward H. Bohlin (he made Roy Rogers’s saddles), while the confer-ence room showcases quotations from Na-tive American chiefs and precise replicas of their dress by Cathy A. Smith (she did the costumes for Dances with Wolves).

“People will say things like, ‘This is the second-best holster collection in the country,’ and the holsters were a small part of my dad’s collection,” says Rudy Kammerer. “It was sort of the way it all fit together that made the collection spe-cial.” This spring Sotheby’s auctioned off a good share of the paintings and Native American crafts. And Rancho Alegre itself will probably be sold. Whatever the fate of the ranch, however, it’s a safe bet the Code of the West will endure. l

Design Notebook


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COLORADO A Historic Home in the Heart of Downtown Aspen

A five-bedroom, 7.5-bath Caribbean colonial–style

house in Sea Pines Resort was designed by Michael Ruegamer, of Group 3. The oceanfront residence has geometrically patterned railings, custom ma-hogany doors and windows,

In 1892 businessman John Atkinson built what is now

known as the Sardy House. Despite several renovations, the six-bedroom Victorian, with stained-glass windows, has held on to its period charm. The property, which includes a neo–Queen Anne carriage house with an eight-bedroom wing and a one-bedroom suite, operates as a bed-and-break-fast. $21.5 million. Call 970-925-8810.

sOutH CAROLinA Hilton Head Gem with a Refined Yet Relaxed Ambience

heart-pine floors and 14-foot ceilings. A gym and a wine cel-lar are among its amenities. Two decks and a 500-square-foot veranda look out on the pool and the Atlantic Ocean beyond. $8.25 million. Call 843-785-7215.

Estates for Sale


Editors Select Properties Around the WorldCalifornia, Massachusetts, Colorado, Florida…


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A recent reconfiguration of the four-bedroom, six-

bath Casa Tortuga (AD, April 2006) by owner and interior designer Alison Palevsky saw many changes, among them the installation of floor-to-ceiling windows in the living and din-ing areas (the oceanfront house

MEXiCO Ocean View on the Rocks in Cabo san Lucas

looks out to Cabo’s famous stone arches), expansions of the hot tub and pool, the reimagining of the third floor as a media room and guest quarters, and a renovation of the upper terrace, now a comfortable gathering spot. $5.495 million. Call 52-624-144-2848.

FLORiDA Barrier island Opulence Among the Palm trees

The first impression one gets of a nine-bedroom,

7.5-bath Georgian-inspired residence on Jupiter Island is a suitably grand one: The ap-proach to the house is defined by a plethora of palm trees, which add to the regal but welcoming feel of the structure itself. It’s a building that could have been here since the 1920s but was in fact completed more recently, in 2000, as evidenced by the hurricane-resistant windows, the open plan of the kitchen/family room and the inclusion of two state-of-the-art amenities—a home theater and a wine cellar. A sweeping lawn leads from the triangular pool down to the shore of the barrier island. $16.95 million. Call 561-818-6351.

Estates for Sale



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A 9,000-square-foot, six-suite compound strikes

the right chord for its location along the Kohala Coast, on Ha-waii’s sleepier Big Island. The 1.19-acre property is a tranquil oasis of exotic plants, flowers and trees, koi ponds and antique sculptures. Architectural fea-tures include carved Indonesian

doorways and clerestory win-dows. A pool and spa overlook the ocean, as does one of two outdoor sleeping areas (the oth-er is in a garden setting). The residence, which also has a gym and a sauna, as well as access to the Mauna Lani Resort, comes furnished. $24 million. Call 808-987-4218.

HAwAii Black-sand Beach

House with Elemental Focus

Estates for Sale



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Views abound for a contem-porary house on a quiet

cul-de-sac along a Sausalito ridgeline five minutes from the hiking and biking trails of Golden Gate National Recre-ation Area. The four-bedroom, four-bath residence’s large windows and open floor plan maximize vistas to the north, east and south—of downtown San Francisco, the Bay Bridge, Treasure Island, Richardson

California Bay area Panoramic Pleasure

Bay, Tiburon, Belvedere, Mount Tamalpais and Sausalito harbor. (Even the laundry/storage room has a view.) The baths and kitchen feature Italian glass tiles, and the cherrywood floors throughout have radiant heat. Floating stairs and a barrel-vaulted Douglas fir ceiling in the family room and dining area lend the spaces additional drama. $3.995 million. Call 415-464-3741.


Estates for Sale


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MaSSaChuSettS on the edge of a Peninsula northeast of Boston

A more than two-acre water-front property in Nahant is

where the daughter of financier F. Haven Clark, for whom the residence was built in 1938, married the youngest son of Franklin and Eleanor Roosevelt. The seven-bedroom, 8.5-bath house, which has since been converted into a Mediterranean-style villa, features a wine cellar and a mahogany-paneled media room, not to mention sweeping views that take in the Atlantic Ocean, the Harbor Islands and the Boston skyline. The grounds include a one-bedroom apart-ment, a pool and cabana, a vine-yard, an orchard and a private beach. $4.95 million. Call 617-357-8996. l

Estates for Sale

“I learned about New Mexico when I first started dating Jane Fonda,” remarks Ted Turner (right), who built a private desert lodge on Ar- mendaris Ranch, his 350,000-acre wild animal preserve along the dramatic Fra Cristobal Mountains. “I come out here in the winter.”

Special iSSue

AmericAn country Houses

On hiS armendariS ranch wild animal preServe, the media magnate buildS a lOdge in tune with the land

Architecture by Chris Carson, faia/Interior Design by Laura Hunt/Text by Gerald Clarke/Photography by Robert Reck

ted turner

AmericAn country Houses

New Mexico


“I wanted a hacienda-type house,” says Turner. “I like Mexican archi-tecture.” Above: He staked the site of the entrance early on. Right: The portale is open to a courtyard. Mirror and Navajo rug, Christie’s. Ralph Lauren Home pillow plaid.

oh, give me a home where the buffalo roam” is the open-ing line of one of america’s most famous folk songs. but

ted turner might be excused if he thinks it was written especially for him. as the largest individual landholder in the united States—he has title to nearly two million acres in 11 states—he has not one but many homes where the buffalo roam. and he lays claim to about 50,000 of those ma-jestic, if sometimes ornery, critters—the largest land animal, he proudly observes, in all of north america.

turner’s main residence is near talla-hassee, Florida (see Architectural Digest, July 2004). On visits to his many west-ern and midwestern ranches, he usually stays in the house, however humble, that was already there. “i just want someplace where i can close the door to keep the flies out,” he says.

when his friends visited his armendaris ranch in new mexico, for instance, they stayed in what had been the cowboys’ bunkhouse: one room for everybody, a bath with open showers and nothing for entertainment but the sound of the wind, which sometimes reaches 50 miles an hour during the winter. “the girls had to wait until the boys were done in the bathroom,” he says of that spartan desert dormitory. “it was rudimentary.”

it was too rudimentary, in fact, to be the center of such a vast property—350,000 acres. in 2006 he decided it was time for a proper house, beautiful yet simple, and in

www.ArchitecturalDigest.com l 123

“It’s a nice house, but it’s not fancy,” says Turner, who hired San Antonio architect Chris Car- son and Dallas interior designer Laura Hunt to carry out the design. Left: For the great room, as throughout, Hunt wanted “European overtones,” she says. Paintings by Albert Bierstadt flank the fireplace, and a side table displays circa 1910–40 Navajo copper boxes. Vigas, typical of Spanish colonial architecture, were stained dark brown. John Rosselli lamps. Above: “Ted said, ‘Lots of windows,’ and he got them,” says Hunt, who hung prints by George Catlin in the dining area.

was doing. “it was a brilliant choice,” hunt now admits, “and i’ve had to eat my words. when you’re in the house, you’re part of the desert—and you still have beautiful landscapes.”

On one thing everyone agreed: the house should be a partner to its surround-ings. “i didn’t want people to drive up and say, ‘Oh, wow! look at that house!’ ” ex-plains hunt. everyone also agreed that it be built in the territorial style, the look and form 19th-century settlers in new mexico found so appropriate to that arid and often inhospitable land. it was not for nothing that the Spanish conquistadors gave the name the Jornada del muerto—the Journey of the dead man—to a trail that runs through the ranch.

the purpose of the house—it was to be a desert lodge—was foremost in the designers’ minds. carson placed the front

no sense wasteful. “i don’t believe in wast-ing anything,” he says. “i’m fairly wealthy, but i even save paper clips.” a hacienda-style house with four bedrooms is what he wanted, and when laura hunt, the dallas designer who was in charge of the project, and chris carson, a San antonio architect, inspected the site, they found two stakes firmly embedded in the armendaris’s dusty soil. One was where turner wanted his front door; the other was where he wanted his bedroom windows to look out on the Fra cristobal mountains.

hunt thought he should have chosen a site in the Fra cristobals themselves, one that would look down at the desert, rather than one on the desert that would look up at the mountains. but turner, the man who irrevocably altered television broad-casting with the introduction of cnn and 24-hour cable news, knew what he


door where turner had planted his stake, but the door opens not to an entrance hall but to a walled courtyard. “the courtyard provides a sense of enclosure from the wild desert,” says carson. the outdoors is as much a part of the house as the indoors, and the three guest rooms are entered from a wide, open-to-the-air corridor. to reach the main part of the house from their rooms, guests must thus walk briefly through the open air.

the designers were also keenly aware that their client was a passionate environ-mentalist. whatever they built had to meet his stiff standards. what hunt and carson discovered was that the old way of build-ing, which was their intention all along, is also best for the environment. masonry walls 18 inches thick keep out the cold in the winter and the heat in the summer, and, in new mexico anyway, old-fashioned tile and clay, made from the earth itself, are ideal for both roofs and floors.

both designers made several trips to the historic mexican town of San miguel de allende, returning with 14,000 tiles for the roof, red-painted tiles for the baths, stones for the fireplaces and antique doors for the courtyard entrance. “the more natural materials are used,” says carson, “the more interesting they look.” most people think of mesquite, another natural material, as a fuel for cooking. hunt put it to a better use as the floor of the great room, a long

Above: Antique Native American baskets decorate the walls of the in-formal dining room. Right: “The kitchen was based on historic kitch-ens of Spanish colonial homes in San Miguel de Allende, Mexico,” explains Hunt. Wolf range and Sub-Zero refrigerator, at Abt.com. Fau-cet from Kohler.

“Ted doesn’t require luxurious accommodations,” says Hunt. “He’s very cool that way. He just needs a pillow and a bed, and he’s happy.” these PAges: The master bedroom. The paint-ings over the walnut writing table and the console in the hall are by Bierstadt; the print is by Catlin. Stark carpet. John Ros-selli bench. Schumacher lamp.


space that combines the living and din-ing areas. “beyond beautiful,” is how she describes floor colors that vary from a rich brown to a brown so dark that it could be mistaken for black.

“i envisioned the house blending into the landscape,” says hunt, “and i wanted it to be painted the color of the grass around it. i worked for i don’t know how many months to get that color for the stucco. the inside is a shade lighter.” though she wanted the interior to suggest a european hunting lodge, hunt was not shy about using items from the american west—

native american artifacts, for example, and bison hide for the master bedroom’s headboard and bed skirt. “it’s like suede,” she says, “but a little rougher.”

turner and hunt share a grandson—her daughter gannon was married to his son beau—and she was designing not just for turner but also for her grandson, beau Jr., as well as future generations of turners. “i built it for family,” she says, “so that my grandson will say, ‘grandma did this.’ ”

turner is also thinking of future gen-erations. through his turner endangered Species Fund he is trying, on all his prop-

erties, to save and reintroduce endangered species. On the armendaris these include bighorn sheep, aplomado falcons and bol-son tortoises. the largest tortoise in north america, the bolson—la tortuga grande del desierto, or the big turtle of the desert—has probably not been seen in those parts in several thousand years. “i’m trying to save life on earth,” says turner. “we have an obligation and a privilege to preserve and maintain our planet and the species we share the planet with. if we destroy the environment, we’re committing suicide.”

a hundred years ago the bison was also in danger of extinction. now turner him-self owns so many that some of his herds stretch as far as the eye can see. For hunt, it seemed only right that the emblem of his new house should be that shaggy beast he is so devoted to, and she has put the bi-son logo on just about everything but the lightbulbs—from towels and t-shirts to poker chips and m&ms. not only has ted turner found a home, or homes, on the range. So, on the armendaris and on his many other ranches, have the buffalo. l

“Half my land holdings are in New Mexico,” says Turner (left), who founded the Turner Endangered Species Fund in 1997. He developed the property to raise buffalo (below left) as well as to provide a sanctu-ary for imperiled animals, such as pronghorn antelope (below), big-horn sheep and Bolson tortoises.

“i’m trying to save life on earth. We have an obligation and a privilege to preserve our planet and the species we share the planet with.”

“I’m not buying land now,” Turner says. “I’ve got enough, though I may buy adjacent pieces of property for bison.” oP-Posite: The latilla-covered porch shades the great room. this imAge: People gather on the west patio to watch the sunsets. Landscape architect Jennifer Bear used native plants, includ-ing soaptree yucca, black grama grass and tobosa grass.

In some circles, having multiple per-sonalities may be viewed as a psycho-logical disorder, but in architecture, it can be a good thing.

When the New York firm Ike Kliger-man Barkley was commissioned to design a house in the Virginia horse country, sev-eral considerations pulled the architects in complex and contradictory directions. Thomas Jefferson, Monticello and the Pal-ladian tradition of plantation houses still weigh heavily on the collective architec-tural psyche. Yet in the more specific con-text of the Green Springs Historic District, a protected agricultural landscape, most buildings are modest farmhouses. While the house had to hold its own on a 1,000-acre site within the historic-land trust, it couldn’t overwhelm empty nesters who were retiring from New York to live in a landscape they had no intention of domi-nating. “We wanted something that would fit in with the area,” says Renée O’Leary, the client, a professional designer who did the interiors. She and her husband had worked previously with the architects on their home in Connecticut (see Architec-tural Digest, August 1999).

The land, then, with rolling hills, pas-turage, native cedars and a 10-acre lake, looked innocent—and large enough to handle just about anything—but it was actually a multivalent site charged with conflicting expectations. Fitting it into a context polarized between manor and farmhouse meant multiplying its architec-tural personality. The big house had to be small, underbuilt for a very large piece of land, and it had to be significant yet dis-creet. “We wanted to do something appropriate, something that would sit lightly on the land,” says Thomas Kligerman, one of the firm’s three partners. The clients need-ed a horse barn, one that could also shelter the cats and dogs the couple foster.

“It was the first house of any size in that

Left and Right: Ike Kligerman Barkley em-ployed Neoclassical and English precedents in creating a Virginia residence for interior design-er Renée O’Leary and her husband. Notes Joel Barkley, “The white, almost Greek severity of the architecture produces a miragelike effect in the warm, earthy verdure.” Marvin windows. Chadsworth’s columns. Weatherend benches.

Architecture by Ike Kligerman Barkley Interior Design by Renée O’Leary

Text by Joseph Giovannini Photography by Durston Saylor

Virginia

Invoking an IdealROMANTICIzeD FORMS PAY HOMAGe TO SOuTHeRN ARCHITeCTuRAL

TRADITIONS IN A HISTORIC LANDSCAPe

“I wanted to build on the classical ideal of takingrefuge in the landscape. Southern architecture is like a

white mirage in a green world,” says Barkley.


area since the 1880s, so we felt a lot of pressure to build something worthy of the setting,” says partner-in-charge Joel Bark-ley, who was born and raised in the South and who seemed to breathe a southern accent into the project. Complicating—and enriching—the task was the ruin of Hawkwood, a pre–Civil War Tuscan-style house designed by the eminent New York architect Alexander Jackson Davis. “It’s just across the road, so there’s a direct vi-sual connection,” Barkley adds. “Since it’s a ruin, there’s a kind of romantic sense here, a nostalgia, that I wanted to pursue.”

Barkley brought other extrinsic con-cerns to weigh on the character of the design: “escaping to the country from city living makes me think of Virgil and his Bucolica,” he says. “I wanted to build on the classical ideal of taking refuge in the pastoral landscape, a civilized retreat that

would contrast with the brutal reality of the great heat here and the hard clay soil. I think southern architecture can be so powerful because it’s like a white mirage in a green world.”

The architects were essentially min-ing the spirit of the place to shape the design, but sensing the subtleties of the land, weather and near and distant history meant that no single form could embody all considerations. Barkley chose several forms rather than one, creating an episodic structure with a narrative instead of cast-ing the building as a single image built at a single point in time. The centerpiece of the house is a stuccoed, templelike en-trance pavilion with an august portico of four columns. The roof slopes down to a clapboard appendage, which looks as though it was added by subsequent own-ers in more humble circumstances. On the

Opposite: Inspired by architect Harrie T. Lindeberg, John Ike turned the house’s Greek pediment on its side to create the silhouette for the 28- stall barn. Above: O’Leary chose a bold hue to offset the trim in the vaulted living room. A Nobilis fabric covers the love seat. The chairs near the fire-place are done in a Bergamo fabric. Odegard orange rug. Holly Hunt lamp.

other side of the portico, there’s a slightly grander wing with tall, aristocratic, tri-ple-hung windows, which in turn abuts a two-story clapboard building that reads as a farmhouse. The rear side opens to a second-story porch over a gallery paved in brick. An arched porte cochere springs to a pure, pointedly simple two-story, Greek Revival–style structure that recalls small country churches.

The house may be large at 6,500 square feet, but it is modestly rather than proudly large, and it appears even smaller because the architects have broken the whole into a rambling, charming concatenation of sections expressing different histori-cal periods and social conditions. Barkley purposely made the house unsymmetri-cal, but he explains that it is composed of “locally symmetrical objects that form a kind of jumble outside any normal hi-


Above: Just over the porte cochere is a book-lined, shiplike space outfitted with two bunks. The dogs are among those the couple foster for a shelter. Right: Barkley calls the library a “perfect idealized cube. The moldings are lyrical and as fancy as we get.” An oil by Susan Sales hangs above the fire-place. At left is a work by Suki Bergeron. Sofa from Donghia. Stark carpet.

The house may be large at 6,500 square feet, but itis modestly large. The architects have broken the whole

into a charming concatenation of sections.


erarchy.” each segment is only one room deep, without corridors. “I maximized the outside surface area to get lots of windows, breezes, views and sunlight,” he says, noting, “It’s not the cheapest way of build-ing a house.”

To add more diversity to the diversity, partner John Ike designed the nearby barn as a steeplelike building, inspired by en-tirely different sources. “We heisted the idea from an early-20th-century architect named Harrie T. Lindeberg, who himself probably took it from english structures,” explains Ike. “We wanted to create a sim-ple, iconic form.”

Above: The vaulted master bedroom is lit by windows on three sides. The pastel is by Ted Larsen. Cow- tan & Tout drapery fabric; Ralph Lauren Home hardware. Grass-cloth wallcovering from Decorators Walk. Below: Porches along the pasture side of the house allow for dining and relaxing. Right: The 1,000-acre farm includes a lake and an old wheat barn. The property is in a protected historic district. “When I’m away, I can’t wait to get back to Virginia,” says Renée O’Leary. “It’s a wonderful area.”

The stable adds another chapter to the narrative on the property. The geometri-cally abstract, acutely triangular structure houses the tack and feed rooms and 28 stalls for Renee O’Leary’s horses, as well as a spiral staircase that leads up to an apart-ment for the groom, in the gable, where there’s a steep, 60-degree pitch. The ar-chitect ties the barn visually to the main house via the standing-seam Galvalume roof and the spanking-white paint.

Despite the ramble of exterior shapes in the main house, its interior flows with ease and logic. A tall, impressive continued on page 205

According to the Small House Society, an Iowa-based or-ganization dedicated to the promotion of humbler hous-

ing alternatives, “living small can free up your mind, your wallet, and your soul.” Consider, if you will, Deer Cabin, a one-room, 300-square-foot log cabin that, its owners, creators and loyal visitors swear, is the last word in soulful comfort.

The Stone family knows from comfort. For years Martin Stone—who developed the manufacturing conglomerate Mono-gram Industries in the 1960s and once owned the Phoenix Firebirds—his wife, Connie, and their five now-grown chil-dren split their time between a modern adobe-and-glass house in Tucson, Arizona, designed by the Austin, Texas, architect Arthur Andersson, and a 200-plus-acre ranch in Lake Placid, New York. But they eventually tired of the high maintenance that the ranch demanded and began to investigate alternative summer getaways. “We traveled for four or five years,” re-

Above: On Flathead Lake in Mon-tana, Mimi London transformed a “funny little shack” from the 1930s into a rustic refuge for Connie and Martin Stone. “I did it in about two weeks—it was as if I were possessed,” says the designer, whose own line shack across the lake was inspiration.

Left: Firewood is stacked in the screen porch of Deer Cabin, which serves as an “on-site pied-à-terre” while the couple’s main house on the property is being built. oppo-site: London removed plastic fin-ishes from the floors and painted “everything that needed it,” she says.

Deer Cabin ReverieMontana

oN THe WooDeD SHore oF FLATHeAD LAke, A oNe-rooM HIDeAWAY CeLeBrATeS AuTHeNTIC CAMP LIvINg

Interior Design by Mimi London/Text by Peter Haldeman/Photography by David O. Marlow



ports Connie Stone. “We went up and down the east Coast, to Hawaii, around the Pacific Northwest, all over Califor-nia, Aspen, Santa Fe—everywhere—and we just couldn’t find any place where we felt at home.” Finally, at the suggestion of their friends Meredith and Tom Brokaw, who have a ranch in Montana, they looked into the area around Flathead Lake. The couple checked into a dude ranch near the lake—and the very next day purchased a 15-acre site supporting a lot of pine trees and one 1930s-era fishing shack.

If it was an impulse buy, their deci-sion was ratified by two neighbors in the know. one was Arthur Andersson, who, the Stones discovered, had been vacation-ing on the lake for years. The other was the designer Mimi London, who owns a

house directly across the lake from the couple’s property (see Architectural Digest, June 1987), has spent her summers in the area since she was a girl and manufactures a line of eco-friendly furniture there. The three met at a party one evening, and London was impressed enough with the Stones’ idea of building an unassuming Adirondack-style compound on their land that she issued a rare invitation to visit her line shack—a very humble mountain abode that once served cowboys riding the fence line (see Architectural Digest, June 1992). For Connie Stone, the line shack was something of a revelation. “We sat on her rickety, falling-down porch and put our feet up,” she sighs. “Mimi pulls out some ripe Brie from an old cooler and grabs some basil out of a tub with birds

kind of hovering over it. Her horses are walking around trying to take food from her. I kind of expected a unicorn to come walking through.”

It was, according to perhaps the most outdoorsy interior designer in America, “a beginning point for what we were going to do, for the attitude.” More introductions were made—London to Andersson, An-dersson to the line shack, London to the Stones’ fishing shack. The conversation turned to how they could make the cabin function as a venue for project meetings, entertaining and sleepovers while build-ings Andersson designed for the property were under construction. “Mimi made a little drawing and said, ‘How does that look?’ ” recalls Connie Stone. “Two and a half weeks later the cabin was done.”

“Everything in this cabin must func tion—there are no extras— and everything is used frequently.” Above: An armoire holds dishes, linens and candles. “There’s mini-mal electric light,” London notes. opposite: A daybed is covered in old Swiss Army blankets.

Left: The foreman built simple shelves for the indoor serving area, which is used during winter. “They’re designed to allow your shoulders to drop, your neck to re-lax,” explains London. “This is a place where chores are slow, quiet and therapeutic.”


opposite: “I modified the concept of a wilderness camp cook tent with mouseproof containers, a propane stove and kerosene lanterns,” says London (left). “There are no walls, and the view is beautiful. Connie and I have done the dishes more than once in the snow.” beLow: The fire pit is the site of “cocktails or after-dinner coffee.” foLLowing pAges: Logs replace the original railings in the “dining room.” Janus et Cie lanterns.

Among other things, London replaced the old structure’s porch railings, gave it a fresh coat of paint, stripped the plastic surfaces and added shelving inside and built a “cook tent,” made of log posts and Plexiglas, off one end of the cabin. Not a square inch was wasted: A mini-refrig-erator and shelves put up by the Stones’ foreman make up the kitchen area; a bed covered in old Swiss Army blankets and

Navajo rugs serves as the bedroom; a table and captain’s chairs out on the porch act as the dining room; a weathered armoire from Nova Scotia provides storage. “Did you see the powder room?” London asks, referring to a mirror hung on a pine tree above a wire trashcan holding a water pitcher and bowl. “Nice, doncha think?” To furnish the place, the designer relied on rustic pieces from the Stones’ for-

mer house on Lake Placid and rounded these out with eBay purchases and local finds—“dumpy” calico curtains, 1920s light fixtures, period hickory chairs and Amish rockers.

“Mimi’s talent is that she creates an intimate and nurturing environment just instinctively,” says Connie Stone. “When I walked into that space, it felt like some-

“Even people you wouldn’t think would respond to it want to be there washing the dishes and heating the water.”



Outlaw EphemeraOn March 2, 1882, just a month before he

was shot and killed by a member of his

own gang, Jesse James, using the alias Tho.

Howard, responded to a newspaper ad

placed by J. D. Calhoun for a 160-acre plot

of land in Franklin County, Nebraska. The

two-page letter and the ad, along with a

pamphlet and a dime novel, both also

from 1882, detailing the notorious outlaw’s

exploits, are available for $350,000 at

The Kenneth W. Rendell Gallery.

The Kenneth W. Rendell Gallery Inc., 46 Eliot St. South Natick, MA 01760; 508-647-1776 www.kwrendell.com

The legend of Jesse James continues to capture the nation’s popular imagination.

Little TentMade for a child, a circa 1890 Plains tepee, $10,500, at Denver’s David Cook Fine American Art (www.da vidcookfineamericanart.com; 303- 623-8181), is just over a foot tall. Un-like similar pieces of the era, it has quill, rather than bead, decoration.

Discoveries by Designers AD’s Editors Present Designers’ SourcesDiscoveries by Designers AD’s Editors Present Designers’ Sources


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Arrowing InGeometric designs in strong colors define a parfleche, $4,500, at Morn-ing Star Gallery (www.morning stargallery.com; 505-982-8187) in Santa Fe. The envelope was fash-ioned by a member of one of the Pla-teau tribes around 1900.

Sail AwayA full dockyard builder’s model from circa 1894 of the Union Castle liner RMS Carisbrook Castle, $120,000, is at Vallejo Gallery (www.vallejogal lery.com; 949-642-7945) in New-port Beach, California. The model measures over five feet in length.

Fun and GamesFrom RJG Antiques (www.rjgan tiques.com; 603-433-1770), Russ and Karen Goldberger’s Rye, New Hampshire, gallery, is a circa 1880 American game board, $2,500. On one side is a Parcheesi board; on the other is a checkerboard.



150

“We knew we would have lots of work to do, but we didn’t care, because we fell in love with its shape, the land, the view,” Roseline Glazer says of the shingled cottage on Mar tha’s Vineyard, built by Roger Al-len in 1930, that she shares with her husband, Bill. Architect Joseph W. Dick helped renovate the struc-ture, one of several on the property.

Long before Roseline Glazer bought a small house overlooking the sea on Martha’s

Vineyard, she fell in love with a painting by Claude Monet of a small house overlooking the sea on the northwest coast of France, Fisherman’s Cottage on the Cliffs at Varengeville. She acquired a print of the picture—the original belongs to the Museum of Fine Arts, Boston—and had it framed for her husband, Bill, who hung it on a wall in his office.

Fast-forward to 1988. The Glazers are living in New Haven, Connecticut, where he works as a psychiatrist, she in real estate, and they spend every August at a cottage they own on the Vineyard. They are content there, but one day a friend takes them to see property on a hilltop near the shore. They drive through thick woods, park in the brush and walk along a path till they come to a cottage surrounded by trees, facing a fishing village and Vineyard Sound. Roseline Glazer recalls, “The place was in shambles. Large pines ob-structed the views; the cedar shingles had curled with age. Still, I saw the bones of a small, delicate house that was falling-apart perfect. It just grabbed me.” It turned out, however, not to be for sale.

A year later the property was on the market—cottage

Renovation Architecture by Joseph W. Dick, aia Text by Jean Strouse Photography by Richard Mandelkorn

Massachusetts

Seaside SanctuaryA CLuSTeR oF CoTTAGeS oN MARTHA’S VINeyARd deFINeS SIMpLICITy ANd CHARM


OppOsite: A brick courtyard wraps around the entrance to the kitch-en, at the rear of the house. Gla zer (left) searched for 15 years before she found the railings. “The choke-cherry tree over the cottage is nature’s umbrella,” she remarks.

AbOve: A corner of the living room. Vintage fabrics cover the pillows. “There’s little art on the walls. We mostly enjoy looking out the win-dows,” says Glazer, who kept the window treatments to a minimum. Marvin windows throughout.

and outbuildings, on 3.3 acres bounded by 24 acres of con-servation land sloping down to the fishing village and a beach—and Roseline Glazer had a real estate license in Massachusetts. She showed the place to friends, hoping no one would buy it. No one did. Then, in 1990, she and her husband took the plunge. “There was not one thing on the property that didn’t need care,” she says. “Anyone else would have torn the house down. But I loved it.”

The renovation took 10 years—during which time the Glazers became grandparents and moved from Connecticut to downtown Manhattan to Key West—and it is still a work in progress. With a local con-tractor, the new owners tore down trees to open up views and create space for gardens. (“I apologized to the trees,” says Roseline Glazer, a pas-sionate, gifted gardener. “We really had no choice.”) They built a garden shed and refur-bished the one-bedroom guest cottage—laying wide-plank fir over a concrete floor, install-ing bead-board on the interior walls and new cedar shingles outside, replacing windows and adding new kitchen appliances, insulation and heating. Glazer furnished each space with an-tiques—in the fully renovated bunkhouse, a croquet set from the Antique Garden Furniture Show at the New york Botani-cal Garden, a lamp from the market in Brimfield, Mas-sachusetts, and a dresser and wicker chair (both had to be stripped) that she found on the Vineyard.

Bill Glazer, who now runs a medical consulting business, left most of the project to his wife. “I trusted Roz,” he says. “My instinct was that her in-stincts were right.” They built an office for him on the hill-side above the main house, with a small gym downstairs, a deck, its own gardens and wide views of the sound. “I


needed a separate space for work, but the grandchildren have figured out how to find me,” he says without a trace of regret.

Nature, in Roseline Gla-zer’s hands, is a key element of design. She created gardens for every building: gardens banked above walls, gardens lining stone steps, spreading out un-der trees, spilling from pots on a brick terrace. Clumps of daffodils wake the property up in the spring; lilies of the valley follow, thriving in the shade, then peonies, irises and columbine. Clematis climbs cedar-shingle walls. down the hill toward the beach, a fence keeps deer out of the veg-etable garden. Full summer brings a perennial abundance that includes roses, helenium,

euphorbia, dahlias, asters, hy-drangeas, hostas, astilbe, Rus-sian sage, lavender, phlox and a raspberry patch.

parking behind the office, a visitor crosses a lawn to a stone path and steps that lead to the kitchen at the rear of the main cottage—the door everyone uses. The Cape Cod–style house, built in the 1930s by Roger Allen, has gone from “falling-apart perfect” to sim-ply perfect. And thanks to the combined efforts of Roseline Glazer and Joseph W. dick, it feels larger than its 1,450 square feet. owner and archi-tect opened it up to the light and its glorious setting, rais-ing the ceiling, widening and deepening porches that face north and west. “We don’t have much art,” Glazer says. “The

AbOve: The addition of a dining room to the main house “took place years after we thought we were finished renovating,” she explains. “It’s small, in keeping with the proportions of all the cottages.” Bead-board lends a textural quality to the walls and ceiling. Bentwood chairs surround the farm table. OppOsite: The kitchen. Kohler sink. Right: In the attic, two small bedrooms were combined to create a larger master bedroom.


landscape and sea are all the art we need.”

Still, she collects vintage fabrics, buttonhooks, hatboxes, antique lace and linens, pin-cushions, pottery and porce-lain—all of which are on dis-play in the house. A few years ago she added a dining room adjacent to the kitchen—a clean-lined, shed-roof struc-ture that looks as if it has been there forever, with 11 windows, a bead-board ceiling and walls, a round oak table she found in

Left: Glazer relocated a parking area to provide a gar-den spot. The couple’s dog, Murray, is on the office’s terrace. An avid gardener, Glazer massed plantings, in-cluding hydrangeas and salvia, around the perimeter. “From the chairs, there’s a 180-degree view,” she notes.

AbOve: The bunkhouse, left, and the guesthouse “are exactly where we found them,” says Glazer. They installed new windows, white-cedar shingle siding and shingle roofs. A potting shed is now between the two structures. tOp: Ocean breezes billow curtains in the bunkhouse.

oregon, bentwood chairs and an old Hoosier cabinet.

upstairs, a former attic with two small bedrooms and no views is now a loftlike master bedroom, with a full bath and a shed dormer that has five windows facing the sea. The Glazers kept the house’s origi-nal wide-plank floorboards, even in the baths and kitchen. They use no shades on the win-dows, preferring to see the steady flash of a lighthouse beam on nights with no fog. In

“I saw the bones of a small, delicate

house that was falling-apart perfect.

It just grabbed me.”

calm weather, the sound of a bell buoy announces the chang-ing of the tide.

Roseline Glazer had for-gotten all about the Monet painting when she fell for a ramshackle cottage by the sea in 1988. She remembered the image only after she and her husband had bought the prop-erty they now live on half the year and consider their true home. “I think we don’t nec-essarily find houses,” she says. “They find us.” l

Inner Directedmodern pieces bring a Former barn into the 21st century Interior Design by S. Russell Groves/Text by Michael Frank/Photography by Scott Frances

Connecticut

“They are modernists who have ended up living in old struc-tures,” designer Russell Groves says of longtime clients—a hedge-fund manager and his wife, parents of three-year-old twin daughters—who asked him to reimagine the interiors of a 19th-century barn that had been moved from Canada to Con- necticut and subsequently converted into a 15-room house.

“We chose modern pieces that had a sense of warmth, a tac-tile quality,” says Groves, whose challenge was “to find a way to bring a breath of modernism” to the rustic spaces. Idelle Weber’s Across the Meadow, left, and Jardin de Paris, an 1897 poster by Jules Chéret, hang in the living room. Sofa fabric, Robert Allen. Stool fabric from Dedar.


collecting and know how to “read” an old house as a genu-ine antique or a hybrid that has been tinkered with over the decades. the key question is, how does all this mold the way a design project unfolds?

“it’s surprising,” says groves. “sometimes the more educat-ed client will give you the most leeway. in the beginning you talk about the central ideas. you agree on the use, sensi-bility, general ambience and

level of formality of a house, and then, if you’re lucky, you’ll be free to design.”

now hear it from the client’s side: “russell worked on our brooklyn heights town house and my manhattan offices. he knows my wife and me pretty well by now, but i remember when we first sat down, with our clippings and notes. he sifted through them and said, ‘some of these translate into practical solutions; some are

Above: The kitchen’s modern ap-pliances contrast with the barn’s original wood beams, posts and flooring. “What we did here, basi-cally, was revise what we found,” says Groves (top). “We used zinc and marble countertops. They’re materials that get better with time.”

It fell to Groves to “get all the pieces to

cohere,” as the husband puts it, and “make the place feel

fresh, young and alive.”

In designing the inte-riors of a connecticut house for a family with whom he had collabo-

rated on two earlier projects, russell groves once again found himself in the position of working with an unusually discerning and knowledge-able client. there cannot be too many hedge-fund manag-ers out there who majored in art history at harvard, won a prize as an undergraduate for


“There was a lot of texture already present here,” the designer says of the dining room. “So we chose a very simple table and chairs—wood themselves, in order to relate to the surroundings—and a customized chandelier.” The flagstone fireplace dominates the space.

inspirational.’ he has a way of getting to the essence of a project. by now we’ve learned that the best way for him to work, and for us, too, is simply to lay out all the goals—then cut him loose.”

the goals for the clients’ Washington depot house were very different from those in town. in brooklyn, the couple and their three-year-old twin daughters live in an 1830 town house. groves’s task there was

to infuse the intricate pe-riod interiors with a sense of refined modernity that still maintained a connection to the architecture. modern sofas and antique chairs coexist with sleek contemporary lighting and a lively collection of ab-stract or conceptual art made in the 1960s and 1970s and work by younger contemporary artists.

From the beginning, the house in rural connecticut was

intended to be a markedly, but not entirely, different experi-ence. Where the city house was stately, urbane and in-ward-turning, the place in the country was open, relaxed and bathed in abundant light. this is a house for bare feet, long summer dinners, unbridled children’s play. yet it is also a place of work—the husband maintains a home office here—and, like the city house, it is an environment that deliberately


forsakes the rote for the rule-bending and the vibrant.

the structure itself, a ca-nadian barn that was rescued and rebuilt in connecticut, has elements that go back to the 1850s. in its residential incar-nation, as a spec house, it was moved to its present site and finished with fairly standard-issue fittings and materials. the previous owner added a handsome poolhouse and made several improvements to the main building, but it fell to

groves to “get all the pieces to cohere,” as the husband puts it, and “make the place feel fresh, young and alive.”

as with the city house, the goal was to bring a modern sensibility to a period build-ing. in this case, however, the approach was to be more rus-tic and informal. groves be-gan with what he calls “some widespread tweaking.” in the kitchen, he changed the count-ertops, the lighting and the position of the appliances. in

the great room, he installed new audiovisual and com-munications systems. there was some clever childproof-ing, such as the introduction of acrylic panels to a dramatic open staircase and the wrapping of thick rope around splintery columns. but groves speaks frankly about the intrinsic ap-peal of the house as he found it: “there are these wonderful beams, mellow floors, dramatic flagstones. the light is spectac-ular. and the big open room

is a welcome distinction from more compact city living.”

When it came to detailing the interiors, groves sought, as in the city, to design by setting down different layers of time. the barn’s frame cast an anchor into the 19th centu-ry; the couple’s artwork pushed the chronology forward into the 20th and 21st. groves’s job was to bridge the distance. he did this, as he likes to, by combining the right kinds of furniture from different mod-

opposite: The custom walnut four-poster in the master bedroom was de-signed by Groves. A Bakelite-and-chrome side table is flanked by a pair of rocking chairs, which he produced in collaboration with Connecticut-based furniture maker Ian Ingersoll. Groves’s plan was “to make the house com-fortable for the family and also take the design up in quality several notches.”

“In town, we live in a house in Brooklyn Heights,” says the husband. “In thecountry, we wanted a more open plan, with lots of light and a relaxed atmo-sphere. Russell understood how we wanted to use and live in the house better than we did ourselves.” Above: A Noguchi floor lamp and side table are next to a pair of woven-leather chairs in a seating area in the guesthouse.

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ern moments. in the central room, matched pairs of arts and crafts armchairs, paul mccobb stools and whimsical contemporary children’s rock-ers are grouped around a low table, while on the other side of a row of rustic pillars, an edward Wormley daybed and chairs are drawn up to a sub-stantial flagstone fireplace.

“What you find here is a formal arrangement, yes, but it’s made up of more ca-sual pieces,” says the designer, “with fabrics that are durable and child-friendly and a pal-ette that is light enough to brighten the rough timbers and the wood floor.” punches of color come from pillows and the artwork, which, in addition to the contemporary pictures acquired by the husband, in-cludes a generous selection of vintage movie posters from a large collection assembled by the wife’s father.

groves’s combining in-stincts extend to the library nook, where harvey probber games chairs are matched to a dunbar games table; the mas-ter bedroom, with its sleek groves-designed walnut bed and night tables and shaker rocking chairs; and the pool-house, where a noguchi floor lamp shares the space with a glass lamp from pottery barn.

What does it take to know how to bring together objects from such disparate sources, new and old, high and low, simple and more polished? “our work is all about mixing elements together to create a warm sense of modernism,” groves said. “When the period is hard to pinpoint, the house seems to have more life. ideally, it will be timeless, too.” l

Groves also laid out the landscap-ing around the pool. The architec-ture of the barn “relates to the landscape and the surrounding structures,” says the husband, but the interiors “make it a modern house with the charm, feeling and materials of something that’s older.”

The structure itself, a Canadian barn that was rebuilt

in Connecticut, has elements that go back to the 1850s.


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Birds of a FeatherLehigh County, Pennsylvania, artist James Christian Seagraves was

known for his interpretations of Pennsylvania German symbols.

Fryling’s Antiques has a selection of his work, including a redware

bird, left, available for $400, signed “JCS” and made between 1985

and 1990. It also bears the initials “VAS,” for his wife, Verna. It is

unusual to have both sets of initials on Seagraves’s pieces. Another

piece—a bird whistle, $400—is signed “JCS” and is from 1980–85.

Fryling’s Antiques, 1717 Becker Rd. Green Lane, PA 18054; 215-234-0596 www.frylingsantiques.com

Dime Store DetailAt Los Angeles’s American Garage (www.americangarageantiques .com; 323-658-8100) is a nearly five-by-four-foot late-19th-century sign advertising “Ed Farr’s 5 and 10 Cent Store.” Thought to be from the Bos-ton area, it has its original paint.



Stark FabricOld World Weavers, from Stark (877-746- 7699), has new indoor-outdoor fabrics in its Elements III Collec-tion. They are, from top to bottom, Shore-line, Catamaran, Mari-na and Veracruz.

Take a VillageConsisting of 17 buildings, a card-board village, $475, was a Victorian toy. Available at Adrian Morris An-tiques (www.adrianmorrisantiques .com; 716-655-3374) in East Aurora, New York, it has its original map marking the structures’ locations.

She used tabletops and doors, or any other flat surfaces,

as canvases for her paintings.

Panel DiscussionMid-20th-century painted wood panels, $2,900 each, are by an artist known only as Lucy from Sikeston, Missouri. They’re now for sale at The Splendid Peasant (www.splen didpeasant.com; 401-396-9255) in Bristol, Rhode Island.



Capturing Traditionsgeorgian details and a collection of

americana lend a period feel to a new residence Architecture by Patrick J. Burke/Interior Design by David Guilmet of Bell-Guilmet Associates

Text by Penelope Rowlands/Photography by Durston Saylor

New Jersey

For a couple with a wide-ranging collec-tion of American antiques and folk art, architect Patrick J. Burke and interior designer David Guilmet created an 18th- century-style house on farmland in New Jersey. The fieldstone barn, which serves as the guesthouse, “is supposed to look like an addition to a period house,” says Guil-met, who contributed to the architecture.

“I really love molding and paneling. I’m crazy about depth; it’s the layers upon

layers that make things interesting.”


One of his first gifts to the woman he would later marry —she was 16 or 17

at the time—was a saratoga trunk, “metal, with a dome top,” she recalls. their ro-mance evolved along with their growing collection of antique objects and furnishings. “we love attending antiques shows,” she says. “for the two of us it’s a hobby.”

How better to memorialize a long and successful union than through a house that showcas-es this shared passion? even

its name, weathervane farm, refers to a beloved collection. But it doesn’t stop there: its residents also collect early american furniture, hooked rugs and folk art.

the pair had lived in this corner of northern new Jer-sey for decades and had raised their children there. when they wanted a new space in which to live and collect, they turned to a local architect, patrick J. Burke, and interior designer david guilmet, of the solebury, pennsylvania, firm Bell-guilmet associates.

favoring americana in their collecting lives, the couple wanted a residence to match. “they asked for classic early american,” Burke says. He responded with an expansive, 18th-century-style clapboard house and a fieldstone, gam-brel-roofed guest barn, which, placed just to the front of the house, “gave it a true farm feel-ing,” Burke notes.

together, the two buildings resemble a compound that was built up over time. the illusion of age was important to the clients, who, while desiring a

new residence, also “wanted it to look period,” says the wife.

they took steps to tie the buildings together “to make it a working whole,” Burke says, by, for example, echoing the stone of the barn’s faÇade in a gable end of the residence.

entering the house is like stepping into a pool of light: a palladian window on the second floor—copied from a house in morristown, new Jer-sey, where george washington was headquartered during the revolutionary war—sends the sunlight down to the first

OppOsite: A gallery off the entrance hall displays a circa 1840 theorem painting and a circa 1835 portrait. AbOve: In the living room, as throughout, “paneled walls add period detail,” says Guilmet. He did extensive research into 18th-century American interiors to ensure architectural authenticity. The New Hampshire highboy is 18th century. The painting of the O. M. Pettit is by James Bard. Schumacher sofa and drapery damask, with Scalamandré trim. Brunschwig & Fils wing chair and sofa fabrics. Lee Jofa pillow crewel.


“The approach in every room was to provide a backdrop for the antiques and art,” Guilmet says. “Even the palette was kept simple.” AbOve: A late-19th-century heart-in-hand staff is in the paneled library. Avery Boardman sofa, with Manuel Canovas fabric. Right: The formal dining room has a portrait by Sturtevant J. Hamblin. Lee Jofa chair fabric. Brunschwig & Fils drapery fabric, with Scalamandré trim.

floor. the entrance hall was conceived with a gallery open-ing on either side. “You walk in and see arches,” says the wife, who had done years of research into period architecture before embarking on the project. “i really love molding and panel-ing,” she says. “i’m crazy about depth; it’s the layers upon lay-ers that make things interest-ing.” to the right, a gracious staircase, shallow-stepped and gracefully wide, seems to float up to the second floor.

guilmet, who designed the interior architecture as well as several exterior details, also pored over historical plans, then replicated his findings in such elements as the house’s mill-work and its classic colonial front door surround. “we were going for an authentic look,” he says. “i wanted it to have a

sophisticated feel.” the quest extended to the nails. “peo-ple often use rosehead nails to get an old-looking floor,” says guilmet’s partner, patrick Bell, “but these floors were laid with cut nails that are flush with the wood. they’re not as dra-matic visually, but they’re more appropriate historically.”

in the spacious, light-filled living room, a serapi carpet, from the couple’s impressive rug collection, literally sets the tone; the muted crimson of its background—what the wife calls “a very colonial red”—is picked up in upholstery fabrics and draperies. Here guilmet opted for simplicity. “i wanted a harmonious palette with sub-tle changes. i wanted to keep it quiet and serene but to still give it a sense of color.”

as they have for years, the

“The rest of the house is high-style country,” says Guilmet, who worked closely with the wife on the design, “but the great room is a bit more casual.” The hand-hewn beams are 18th century; the tin chandelier, the bench table and the horse-and-plow weathervane are all mid–19th century. Ralph Lauren Home sofas, with Scalamandré fabric.


couple worked with Bell, an antiques dealer, to acquire pe-riod art and furnishings for the residence. such pursuits are in the wife’s blood: “my parents collected antiques, and they took me around to dealers,” she says. the couple favor painted surfaces, and some of the living room’s more important pieces, including an 18th-century tea table and a pair of circa 1800 windsor bowback chairs, with their original white paint, fall into this category.

the dining room is centered around a mahogany federal ta-ble—a piece said to have once belonged to Benjamin lincoln,

a general in the revolutionary war—that, along with a side-board and six of the mahogany dining chairs, had long been in the family’s possession. guil-met had the chairs copied, increasing their number to a dozen, and claims that even he can’t tell the new from the old. the twin chandeliers, redolent of 18th-century new england, are among the few other re-productions to be found.

an evocative circa 1845 portrait of sarah north, by sturtevant Hamblin, is one of a number of folk paint-ings in the residence. on the same wall, a circa 1850 banner

weathervane seems to point out the window, past a pristine parterre with boxwood borders and brick walkways, by english-born landscape architect peter cummin, to the country- side beyond.

the house remains a work in progress—as, perhaps, any antiques lover’s residence must be. “it’s an evolving project to put together a collection of this caliber,” guilmet says. “You have to have people who are willing to spend time looking for the right pieces.” Hap-pily, for this couple, waiting for perfection poses no prob- lem at all. l

The wallcovering in the master bedroom “makes it feel cozy without making it dark.” The cherry corner cabinet, circa 1820, holds a collection of mid-19th-century Pennsylvanian tinware. The New England hooked rug on the wall is also 19th century. Schumacher sofa, bed hanging and drapery fabrics. Ralph Lauren Home bed ticking. Brunschwig & Fils plaid. AbOve: The pool pavilion is a copy of an outbuilding in Williamsburg, Virginia.

“We were going for an authentic look. I wanted it to have a very sophisticated feel.”

Wyoming

One Foot in the Present

reshaping the ranch aesthetic at the base of the grand teton


Celeste Robbins designed a 9,000-square-foot ranch-inspired residence with modern lines (above) for a family of four in Wyoming’s Grand Teton valley. “It’s a challenge to fit a house into a context and make it look like it’s always been there,” notes the Winnetka, Illinois–based architect, who collaborated on the project with interior designer Berta Shapiro. OppOsite: A seating area in the great room. FOl-lOwing pages: “The clients entertain a lot and wanted a casual open area, and that sort of drove the architecture,” Robbins says of the 52-foot-long great room. Odegard rug. Lounge chair, Sutherland.

concerned with what the vo-cabulary would be. My back-ground is as a modernist, and i wasn’t sure how this house would turn out. You don’t find a lot of classically modern houses in the Jackson area. Most people here are looking to build homes with a more ob-vious western theme.” What’s more, the site “was really flat, and there were very few trees. putting any new home in the middle of ranchland like that, with no trees and no topo-

A rchitect celeste robbins had plen-ty of experience renovating homes.

she had just never built one, that’s all.

for comfort’s sake, she might have started out on more familiar turf—maybe in Winnetka, illinois, where her office is located and where she’s completely fluent in the local architectural vernacular; or in nearby chicago, a city that offers endless opportuni-

ties for an architect to test out big ideas on tiny lots.

but you don’t always get to choose your own destiny. and for robbins, destiny came in the form of a rather daunting com-mission: a 9,000-square-foot vacation residence in a place where the only skyscrapers to be found are actual mountains and where the moose outnum-ber the taxis 20 to one: Jack- son, Wyoming.

she realized just how far away she was from the big city

when she and one of the clients took an early trip to view the land on which she would build. the snow was packed so high that snowshoes were in order; as they approached the fence that surrounded the property, there was no need to unlock any gate. “We just walked right over it,” she recalls.

the site, with its views of the majestic tetons in nearly all directions, was inspiring—but also, robbins says, a little intimidating. “i was mainly

Architecture by Celeste Robbins, aia/Interior Design by Berta Shapiro Text by Jeff Turrentine/Photography by Steve Hall/Hedrich Blessing


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the clients, with whom robbins had worked before, shared the architect’s modern sensibility but were sensitive to the context. a log cabin, or any-thing else too self-consciously western, was out of the ques-tion. better to have the house just blend in to the landscape as much as possible. “they wanted something that was quiet and timeless,” she says.

Quickly a plan came into focus: two buildings, a main house and a guesthouse, framed in rich, dark cedar, with a roof-line that cleverly references the modern and the traditional. gables honor past architec-tural styles that have retained their currency in this quadrant of the american West; but they share their duty with modern, flat roofs extending into dra-

OppOsite: Many of the public spac-es, including the dining area, have views of the Teton Range. Sentimen- to lamp. Right: The kitchen. Larsen fabric on Borge Mögensen chairs. Barstools, BDDW. Sub-Zero refrigerator and Wolf range, at Abt.com. Rocky Mountain hardware. BelOw: The main-floor plan. A separate guesthouse has an attached garage.

1 entrAnce HAll 2 librAry 3 greAt room 4 kitcHen 5 plAyroom 6 wine room

7 mAster beDroom 8 mAster bAtH 9 gym 10 guestHouse 11 motor court

matic eaves that nod to frank Lloyd Wright’s prairie style. robbins also likes how the gabled/flat dichotomy mir-rors the relationship between the surrounding teton moun-tains and the broad, flat valley in which the house sits.

an open-plan interior, natu-rally, would reinforce the idea of this house as a spot for fam-ily vacations and entertaining. and since there was really no such thing as a bad view on any side of the house, windows would be everywhere, facing all directions. robbins enlisted chicago-based lighting design-er anne Kustner haser and the Jackson-based landscape archi-tectural firm hershberger de-

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“When a residence is as open to the landscape as this one is, you have to be thinking about the outside as much as the inside.”


OppOsite: French doors open to the master bedroom. Blanche La-zelle’s 1935 watercolor Vase of Flow-ers hangs above a 1930s terra-cotta figure and a 1950s Finn Juhl arm-chair. Drapery fabric, Rogers & Goffigon. Stark carpet. aBOve: A wraparound sandstone terrace. Ban- quette cushion fabric, Perennials.

sign to help fill out her vision. (“there aren’t as many contrac-tors to choose from in Jackson as there are in chicago,” she says, “but the quality of their work is remarkable.”) interior designer berta shapiro, who had worked with robbins on the clients’ house back in illinois, was again called into service.

on that first snowy recon-

naissance mission, robbins and her client agreed that the house’s great room would have to look out onto grand teton. the glass in this room is 10 feet high and 40 feet long, framing the peak like an iMaX screen in an unusually luxurious theater. shapiro placed identical sofas back to back in order to give the clients two separate seating

areas, in addition to a dining area at one end; she knew that this room, more than any other in the house, would be where the family and their guests would spend most of their waking hours.

“When a residence is as open to the landscape as this one is, you have to be thinking continued on page 206


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Going for the GoatA circa 1890 life-size goat, $22,000, at Hill

Gallery was made for the initiation rites of a

lodge outside South Bend, Indiana. During the

ceremony, a potential member sat blindfolded

on the goat. The wheels are not perfectly

round, resulting in a bumpy ride; the rider had

to trust his fellows in order to stay on.

Hill Gallery, 407 W. Brown St. Birmingham, MI 48009; 248-540-9288 www.hillgallery.com

In a NutshellAdrian Sassoon (www.adriansassoon .com; 44-20-7581-9888) is a Lon-don dealer renowned for both his collection of 18th-century Sèvres porcelain and his range of contem-porary ceramics, such as a stoneware walnut, $13,000, by Kate Malone.

For her whimsical ceramic pieces,

Kate Malone is inspired by forms found in

nature—be it in the sea or on the land.

Prior’s RestraintAustin T. Miller American Antiques (www.usfolkart.com; 614-225- 0506) features a rare signed 1849 portrait of a boy, $150,000, by Wil-liam Matthew Prior. Also at the Columbus, Ohio, gallery is an 1860– 80 New England quilt, $30,000.


Brunschwig& FilsInspired by Suzanni designs, Dzhambul, a cotton-and-linen blend at Brunschwig & Fils (800-538-1880), is in six new color combina-tions, including coral and green (shown). l


Ellen Denisevich-Grickis found an 18th-century barn in Ontario, Canada, and had it relocated to a four-acre plot in Rhode Island, where she renovated it for use as a summer house for herself and her husband, Bill Grickis, and their two daughters. These Pages: A vast wildflower meadow pre-cedes the 3,000-square-foot residence’s entrance.

Rhode Island

Proud Heritage a 200-year-old barn is born again as a designer’s own coastal retreat

191

After a quarter of a century’s worth of renting in coastal rhode island for

the summer, designer ellen denisevich-grickis and her husband, corporate lawyer bill grickis, took the plunge and bought. the property—four arcadian acres bordered by conservation land and romanti-cally strewn with the remnants of rude stone walls—was just a short, lyrical bike ride from the beach.

theirs being still very much a farming community, the couple wanted a house that was an earnest of the agricul-tural life—in other words, a barn. “a barn, with its implicit integrity and economy, is a proud silhouette of the past—its proportions and materials command respect, even rev-erence,” denisevich-grickis states. For all that, she sees it less as an antiquated throwback than as an abiding symbol of “shelter, harvest, warmth and honest effort.” Having made a thorough and loving study of neighboring barns, she did a drawing of the barn of her heart’s desire and then set out to reify it.

the “barn scouts” she con-sulted pointed her all the way to northern ontario, promis-ing that barns in canada were generally of higher quality and

Architectural and Interior Design by Ellen Denisevich-Grickis Text by Steven M. L. Aronson Photography by Richard Mandelkorn


in better shape. “it was the dead of winter, and we drove over frozen tundra,” she recalls, “and then finally we saw it—this wonderful steep-roofed barn that had been built into a hillside. it was 200-plus years old and in near-perfect condi-tion—the massive hand-hewn oak beams, posts and purlins were all mortised, tenoned and pegged!” and as if that weren’t enough, dimensionwise it con-formed practically to the inch to what she had imagined and drawn. “it felt almost foreor-dained,” she says.

the dismantled barn frame was soon wending its cumber-some way south to rhode is-land, where it was set down and reconstructed in the grickises’ ravishing wildflower meadow. the couple then proceeded to make it more compatible with the other old barns in the area by adding a façade of local

above: Part of the barn’s transformation included sheathing the façade in stone—an hom-age to local farm buildings. below: The designer’s aim for the living area was to “expose the monumental wood skeleton, keeping it simple yet powerful.” On the wall behind the leather sofa, from Natuzzi, is a 2004 oil by Theodore Tihansky. Chandeliers, Studio Steel.


stone. a cupola was also added, to bring light into the open, soaring interior, and topped off with a weathervane of a bronze stylized mermaid created by denisevich-grickis.

the designer was deter-mined to employ as many “green” materials as possible: Unmilled oak trees were used to fashion the outdoor din-ing room’s arbor, handmade nontoxic milk paint for the vertical-plank interior walls, and energy-efficient concrete

for the floors on the first story. denisevich-grickis “personal-ized” the freshly poured con-crete with pounds of sea glass and abalone shell that she had collected herself, as well as with chips of mirror and mother-of-pearl. “i had on hip boots, and i was standing on wooden planks hand-broadcasting the materials—over a three-day period, no less—throwing them all in very carefully, be-cause it makes a real difference how you throw them. it was

one gigantic art project, i can tell you.”

there are precious few ma-terials in the barn that are run-of-the-mill. the draperies for the big windowed barn doors were run up out of burlap and tailored like fine fabric, after which they were hand-sewn with more than 1,000 capiz shells, edged with feathers and equipped with shell-bracelet rings. “i wanted something rough, rustic and natural that went with the barn,” she points

Although the installation of a fire-place in the dining area required some rearranging of the barn’s structural supports, “most of the posts and beams were left in their original position,” Denisevich-Grickis says. The plank walls were finished with a white milk paint—one of the interior’s many “green” design features.


ToP: The upper level’s haylofts were turned into a sitting room and bedrooms, with an iron-framed bridge in the middle to link them. What wood is not original to the barn was reclaimed from histori-cal sources. above: Floral motifs and vibrant color brighten the master bedroom. lefT: Intercon-nected with the living and dining areas, the modern kitchen has floors of concrete mixed with chips of mirror, mother-of-pearl, abalone shell and sea glass. Hanging above the Shaker-style island is a Murano glass chandelier. Viking dishwasher, range and hood, at Abt.com.


out. the transom and interior windows were made of hand-blown glass; and the floor of the downstairs powder room is all striped stones (“i call them lucky stones”) that denisevich-grickis garnered from her fa-vorite local beach over long years and individually placed.

the barn is particularly rich in architectural elements and fragments—18th-century-Pennsylvania-barn pine doors with cutouts in them called hex signs (they were believed to ward off evil spirits); assorted other 18th-century doors all with their original blue paint and hardware; wooden arms, fragments of Mexican santos, wired for use as sconces; and an antique iron gate pressed into

service as the outdoor dining table. both the frame and stone floor of the covered side ter-race were once part of a nearby 18th-century structure that the couple bought (denisevich-grickis painted the frame of its big round window, which had originated in a church, a nontoxic—that is, a green—red inside).

a cavernous space 30 feet high triples as living area, dining area and kitchen. the master suite nestles behind the

above: A log arbor—soon to be en-veloped in flowering vines—spans nearly the width of the shingled rear façade, providing shelter for an out-door dining room. RighT: The de-signer and her dog, Hope.



Outside the kitchen is a large covered terrace, the frame of which was taken from an 18th-century house. Denisevich-Grickis chose an antique church win-dow for the gable end. Locally made Adirondack chairs sit by the fireplace.

A field house in upstate New York was imagined, in a collaborative effort, by architect Paul F. Shurtleff, interior designer Thad Hayes and landscape architect Douglas Reed. The lawn, terraced by a stone wall, echoes the divisions of the build-ing’s living and pool areas.

Farmhouse AbstractionA recreAtionAl outbuilding mirrors its bucolic setting

Architecture by Paul F. Shurtleff, aia/Interior Design by Thad Hayes/Landscape Architecture by Reed Hilderbrand Text by Joseph Giovannini/Photography by Scott Frances

New York


Look again: can you be absolutely sure this little farm build-ing wasn’t already

there, and that instead of de-signing it, the architect just signed it?

Freud said the ego didn’t be-lieve in its own birth, and it’s hard to believe that the modest

structure that landscape archi-tect douglas reed, architect Paul F. shurtleff and interior designer thad Hayes invented together in upstate new York hasn’t stood forever in its quiet state of bucolic grace. With a slight bend in it, the shed roof of the light gray outbuilding slopes down with the terraced

yard, a seamless fit with the ver-nacular farmhouses of the area and the network of fieldstone walls lacing the landscape.

A house doesn’t always have to exhibit Frank lloyd Wright’s fingerprints to look organic. if the building the three design-ers conceived on the footprint of a demolished stable seems

to grow out of terraced mead-ows, it’s because the designers first shaped the landscape, and the house followed naturally, taking its cue from an existing tartan of fieldstone walls and hedgerows. “We were inspired by the traditional elements of the farmstead,” says doug-las reed, of the boston-area


landscape architecture firm reed Hilderbrand.

the three had collabo-rated here before, designing the main house on this rural property back in 1994 (see Ar-chitectural Digest, June 1998). the architecture itself was inspired by local farmhouses, but, importantly, the landscape

architect terraced the grounds so that the tennis court, motor court, outdoor pool and lawns all occupied their own levels within the surrounding mead-ows. like a stone dropped in a pond, the house’s footprint created a ripple of rectangles in the grounds around it, rooting the house in the land.

The media room has exposed trusses of “forest salvage” Douglas fir and oversize French doors. Ear-ly-19th-century Italian oak work-table and triangular stools, Amy Perlin Antiques. Lee Jofa drapery and plaid club chair fabrics. Edel-man leather on sofas and ottomans. Striped fabric on sofa seats from Fonthill. Newel bench, foreground.

in 2001 the owners, a new York couple with two children, acquired a nearly three-acre property next door, and they asked their three designing tenors back for an encore. Following the lead of the land-scape architect, the trio decid-ed to visually connect the new property with the old by reca-


Though the field house is a short walk from the main residence, the challenge, says Hayes, was to make it “a dynamic and in-teresting space for the clients to go to.” Right: The entrance hall. Bench from Amy Perlin Antiques. Drapery sheer, Stark.

Above: A circa 1910 iron chandelier hangs in the kitchen. Back- splash tile, Ann Sacks. Waterworks sink and fixtures. Refriger-ator, range and hood at Abt.com. Above Right: The pool area “recalls a traditional agricultural shed,” notes Shurtleff. Halo-phane lighting, Urban Archaeology. Barlow Tyrie tables and chaise longues, with Perennials fabric.


pitulating the fieldstone walls in the new phase. “We drew a major landscape wall across the yard to extend the pattern and join the two properties within the larger system of retaining walls,” says reed. “the house straddles the wall.”

the program started mod-estly: the clients—she works in film—wanted a screen-ing room where family and friends could hole up with popcorn during weekends in the country. the husband, an executive, likes to swim—as does the whole family, for that matter—so an indoor pool soon followed. the pool sug-gested a gym, and the gym, a

spa. then came a guest studio. At the end of the whole wish list, the clients and architects were looking at a recreational field house that had grown to 5,000 square feet, and the size demanded that the designers tamp down the scale so that the outbuilding didn’t wag the main house and dominate the new property. if shurtleff, who worked as lead architect for Jaquelin t. robertson on the original project, was going to retain any sense of authenticity, he couldn’t allow the structure to balloon: old farmhouses were built small to retain heat, and inflated scale gives away the newness of a build-

The wall leading up to the house actually runs through it, splitting the floor into two levels.

ing, despite traditional forms.“As soon as you’re dealing

with a split-level floor plan, you have an issue of roof form, which led me to the idea of a simple shed roof, like a tractor shed tucked in against the side wall of a barn,” says shurtleff. “the issue was how to make it feel like an agrarian building. it had to feel part of a historic past, without being historicist or rustic.” the architect did not design down to the principle by applying sentimental detailing and materials, like logs. instead he abstracted from tradition, creating a straightforward building with clean surfaces and elemental lines within a

form that hybridizes the no- tions of farmhouse and barn.

the stone wall that cuts through the property leads to the south façade of the out-building, where big, generous, barnlike doors open onto a great, gabled room focused on a fieldstone fireplace worthy of a lodge. A catering kitchen fa-cilitates entertaining. on the downslope side, the wall lead-ing up to the house actually runs through it, splitting the floor into two levels. the lap pool is sited with the hot tub on the lower level, which opens onto a terrace and lawn leading back to the main building. the continued on page 206

The building is clad in cedar siding. Large doors, which slide open to reveal the media room, continue the farmstead theme. “The main house has a formality,” notes Hayes. “This one needed to feel more outdoorsy.” Twig stools, Newel.


entrance hall with a black-and-white checkerboard marble floor leads straight onto a library centered on a dignified es-cutcheon of white molding celebrating the view through a tall window. To the left lies the master suite and to the right the living room, with the dining room beyond. All the public rooms, along with the master suite, are on the first floor. The other three bedrooms are on the second floor. When the couple have no guests, it’s basically a one-bedroom house on the first floor.

“In every job I do, I try to think of three adjectives to describe my intentions, and here they were stylish, comfortable and au-

thentic,” says O’Leary. She stressed com-fort and informality because the couple keep the doors wide open 10 months of the year, and the free-range dogs drop by on casual visits and roam through the house. In this historical context of Virginia, you have to look twice to real-ize that the designer cuts the edge with contemporary pieces, such as the dining table with a plaster top and a patinated-steel base. Despite the traditional chairs, the lines overall are clean and softly up to date, eased by natural materials.

O’Leary characterizes the style as “warm modern,” and her palette—pump-kin in the living room, Clydesdale brown in the library and eucalyptus in the din-ing room—indeed warms the interior. “Once we realized the outside was going to have columns, that it’d be a white house with black trim, I knew we’d have a lot of color inside,” she explains. “I was inter-ested in the contrast.”

In addition to the multiple architectural personalities, there were the multiple de-sign voices working in concert from the beginning. “We picked our focal points and tried not to have too many things to look at,” adds O’Leary. “I asked Joel whether he designed from the outside in or the inside out, and he said that it all came up together. That’s how we did the whole house. The exterior, interior and the décor all came up together.” l

The couple keep the doors of the house wide open 10

months of the year.

body had lived in it for 30 years.” The following summer London applied her down-home skills to the grounds sur-rounding the cabin. “I can’t help it,” says the designer. “When I’m at a campsite, I want to play with it. When you go horse camping, you carry your belongings in a mantee, which is a tarplike thing the size of a bale of hay. So I made some man-tees out of some old pillows they had and some canvas, and that’s what their ‘sofas’ are around the fire pit.”

Deer Cabin, as the Stones call it, has answered its multiple purposes—and then some. For one thing, the place seems to tap into widespread Little House on the Prairie fantasies. “Every man, including my husband, who walks in says, ‘What more do you need?’ ” relates Connie Stone. “Even people you wouldn’t think would respond to it want to be there wash-ing the dishes and heating the water and all that.” With its primitive charms, the cabin has also served as something of a petri dish for the rest of the project. For instance, the other buildings—the lake house (a master suite for the couple with a bedroom, kitchenette and offices); the tree house (a three-bedroom guesthouse); and the barn (a lodgelike structure with

a big family kitchen, dining room and living room)—have all been designed with screened sleeping porches and outdoor showers.

If all goes according to schedule, the last of these structures should be completed this month. Which raises the question of what purpose the cabin will serve in the future. “Everyone still wants to spend the night there,” maintains Connie Stone. “I’m just not sure I’m going to want to share it that much. You know how when you meditate they tell you to go to a safe place in your mind? I hate to sound woo-woo, but I think no matter how amazing the rest of the property is, Deer Cabin is always going to be my safe place.” l


InVOkIng An IDEAL


DEEr CAbIn rEVErIE

“Mimi’s talent is that she creates an

intimate and nurturingenvironment instinctively,”

says Connie Stone.


sloping shed roof, as though appended to a small barn, allowed the designers to build down rather than up, hunkering the vol-ume into the land. “We knitted the func-tions together into a compact volume so the building wouldn’t dominate the site,” says the architect.

To keep the large house looking small, Shurtleff practiced a little deception, not-ing, “If you pump up the scale of the com-ponents, you bring the scale down in size.” He increased the size of the barn doors on the leading façade, along with the windows and fireplace inside.

Thad Hayes also practiced some adroit deception by scaling up the apparently modest furniture, and he kept it simple, with several pieces of the same size that he repeats. As in many of his interiors, the furniture layout is geometric and struc-tured, cued by the axial geometries of the building. The consistent horizon line of the sofas and chairs orders an interior al-ready calmed by geometry. “Our clients were very easygoing, but the one require-ment was that the room accommodate a mix of uses,” says Hayes. “It needed to look like a living room part of the time, and for

screening movies, the furniture—which is oriented to the view out the barn doors and to the fireplace—can be reoriented toward the screen,” he says. What feels like a lodge becomes transformed into a home theater.

“It’s not so much a summer room, be-cause it’s used when it’s cooler, in the fall, winter and spring,” says Hayes. He employs a warm palette of darker, richer materials and colors, appropriate for the seasonal use. A blue plaid on the chairs plays off the leather sofas, which have seat cushions in fabric panels—a two-tone mix that re-calls 1930s and ’40s automobile seating.

“I designed it so they could just build a fire, watch a movie and eat popcorn without worrying that buttery fingers would ruin the décor,” summarizes Hayes. “There’s nothing precious about it.” l

about the outside as much as the inside,” says Shapiro. “You’re dealing with so much sky, so much land—and all of it accompa-nied by coloration that’s constantly chang-ing from dawn until there’s no light left in the day.” (Robbins, who says she can “feel the muscles in my shoulders relax every time I touch down on the airport in Jackson,” was delighted to learn that the architecture offered views she hadn’t even counted on. “There were some that I wasn’t expecting,” she says. “When you’re in the guesthouse and you sit down, you can actually see over the main house to the peaks of the mountains.”)

Shapiro took her palette cues from this protean natural canvas, emphasizing the blues, greens and earth colors that predom- inate in the vistas. Because the clients and their family “wanted to live comfortably, not preciously” in their house, she chose fabrics “that were durable but refined: linen, leather, velvet, good wool rugs.”

And so was born an undeniably western house that doesn’t have to rely on Navajo rugs or cowboy-themed statuary to prove its regional bona fides. (No framed sets of antlers here, though there is a striking charcoal rendering of a moose in the en-trance hall.) Instead, Robbins and Shapiro have been able to translate the urbane re-

finement that they and their clients have always prized into a stylistic language that’s easily absorbed into the rugged mountain vernacular.

If Celeste Robbins—who celebrated, if that’s the right word, her 40th birthday dealing with the project’s contractors—was wondering whether she truly knocked it out of the park her first time at bat, the clients’ reaction put any questions to rest. “They had intended for this to be a sec-ond home,” she notes. “But they ended up moving out here full time.”

Not bad for a beginner. l

living area. Stairs—made out of the sur-plus timbers, with a handrail contrived of twigs gathered on the property—lead to a sitting room. From there a bridge, which offers a bird’s-eye view of the barn’s im-pressive wooden skeleton, connects to the two teenage daughters’ bedrooms.

“With the decorating, I wanted to go modern—I didn’t want that hokey barn wagon-wheel look on the inside,” De-nisevich-Grickis says. The farm spirit is vestigially manifest in an antique apple-picking ladder and an antique milking

bench—both, naturally, with their original paint. But much of the rest of what’s there is a pleasant variety, the designer having taken care that nothing disrupt the fit-tingness of things. A contemporary Ital-ian leather sofa and a Murano chandelier that “speaks to some of the other quirky things in the house” are at home with an antique grain-painted blanket chest and an old English oak turned-leg drop-leaf dining table. The paintings and sculpture, for their part, are contemporary—all done by Theodore Tihansky, of Monhegan is-land, Maine, whom Bill Grickis describes as a “pure, unvarnished, diamond-in-the-rough kind of artist.”

The couple collect Oriental rugs, and there are a handful of these upstairs, cloth-ing the old wide-plank pine floorboards, lending warmth and color. “When you look at an antique Oriental carpet,” Grickis observes, “you always see something you hadn’t noticed before, and it’s the same story with the barn—the light that filters through the windows and pours down from the cupola illuminates the queen posts and purlins and other elements of the barn’s superstructure in all different ways, depending on the time of day.” l

For more features on renovated barns, go to ArchitecturalDigest.com.


FARMHOuSE

The size demanded that the designers tamp down

the scale so the outbuilding didn’t wag the main house.


IN THE pRESENT

She likes how the gabled/flat dichotomy mirrors

the relationship between the surrounding Tetons

and the broad, flat valley in which the house sits.


pROuD HERITAGE

“I had on hip boots, and I was standing on wooden planks hand-

broadcasting the materials. It was one gigantic

art project, I can tell you.”


du

rs

ton

say

lor

an anthology of folkPages 42–48Malcolm Robertson Robertson & landers architects59 Grove Street, Suite 2D New Canaan Connecticut 06840 203-966-2617 www.robertsonandlanders.com

san ysidRo RanchPages 70–76san ysidro Ranch900 San Ysidro Lane Santa Barbara, California 93108 800-368-6788 www.sanysidroranch.com

Marc appleton appleton & associates, inc. 1556 17th Street Santa Monica, California 90404 310-828-0430

117 West Micheltorena Street Santa Barbara, California 93101 805-965-0304 www.appleton-architects.com

Jameshyatt studio 1530 16th Street, Third Floor Denver, Colorado 80202 303-825-2010

laurie lewis design3935 Lyceum Avenue Los Angeles, California 90066 310-827-4892 www.laurielewisdesign.com

sally Paul design2516 Midvale Avenue Los Angeles, California 90064 310-475-2885

a winning design foR oscaR®

Pages 90–92carleton Varney dorothy draper & company, inc. 60 East 56th Street New York, New York 10022 212-758-2810 www.dorothydraper.com

ted tURneRPages 118–130chris carson ford Powell & carson architects and Planners, inc.1138 East Commerce Street San Antonio, Texas 78205 210-226-1246 www.fpcarch.com

laura hunt30 Highland Park Village Suite 210 Dallas, Texas 75205 214-526-4868 www.laurahunt.com

Jennifer Bear confluence designs1401 Old Santa Fe Trail, Suite G Santa Fe, New Mexico 87501 505-603-4565 www.confluencedesigns.com

inVoking an idealPages 131–139ike kligerman Barkley architects Pc330 West 42nd Street New York, New York 10036 212-268-0128

Renée o’leary interiors1815 East Green Springs Road Louisa, Virginia 23093 540-967-9242 [email protected]

deeR caBin ReVeRiePages 140–147Mimi london london Boone incorporated design8687 Melrose Avenue Suite G-168 Los Angeles, California 90069 310-855-2567 www.mimilondon.com

seaside sanctUaRyPages 150–157Joseph w. dick— architecture—inc.17 Summer Street Yarmouthport Massachusetts 02675 508-362-1309 www.josephwdick.com

inneR diRectedPages 158–167s. Russell groves210 11th Avenue, Suite 502 New York, New York 10001 212-929-5221 www.srussellgroves.com

caPtURing tRaditionsPages 170–179Patrick James Burke architectP.O. Box 264 New Vernon, New Jersey 07976 973-539-4777 [email protected]

david guilmet Patrick Bell Bell-guilmet associatesP.O. Box 38 Solebury, Pennsylvania 18963 215-297-8977 www.bellguilmet.com

Peter cummin cummin associates, inc.114 Water Street Stonington, Connecticut 06378 860-535-4224 www.cumminassociates.com

one foot in the PResentPages 180–187celeste RobbinsRobbins architecture inc.894 Green Bay Road, Suite 8 Winnetka, Illinois 60093 847-446-8001 www.robbins-architecture.com

Berta shapiro925 West Huron Street Suite 101 Chicago, Illinois 60622 312-492-9700

hershberger design560 South Glenwood Street Jackson Hole, Wyoming 83001 307-739-1001 www.hershbergerdesign.com

PRoUd heRitagePages 190–197ellen denisevich-grickis185 Carmel Hill Road Bethlehem, Connecticut 06751 203-266-7857 [email protected]

faRMhoUse aBstRactionPages 198–204Paul francis shurtleff aia architect88 North Hillside Place Ridgewood, New Jersey 07450 201-445-8283

thad hayes, inc.80 West 40th Street New York, New York 10018 212-571-1234 www.thadhayes.com

douglas Reed Reed hilderbrand associates inc.741 Mount Auburn Street Watertown Massachusetts 02472 617-923-2422 www.reedhilderbrand.com l

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