Architectural Digest 07 2008

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THE INTERNATIONAL MAGAZINE OF DESIGN JUNE 2008
American
Country
Houses
8 Visit ArchitecturalDigest.com for more
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American
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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 Rene OLeary
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 Marthas Vineyard
Defnes 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 Marthas Vine-
yard. Photography by
Richard Mandelkorn.
See page 150. ABOVE
RIGHT: The portale of
the lodge on Ted Tur-
ners Armendaris Ranch
in New Mexico. Archi-
tect Chris Carson de-
signed the buildings,
and Laura Hunt did the
interiors. See page 118.
JUNE 2008
continued on page 10
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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
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
Designers 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
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
Photography by Mary E. Nichols
82 DISCOVERIES BY DESIGNERS
Architectural Digests Editors Present
Designers Sources
90 DESIGN NOTEBOOK:
A WINNING DESIGN FOR OSCAR

Architectural Digests 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
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 2008
Volume 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 RETREAT
I 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. Sterns take on a Florida
beach cottage. He brought an interest-
ing and unique architectural perspective
to what is a pretty standard exterior and
foor 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
diffcult to instill in a brand-new house.
MARK RIFFLE
COLUMBUS, OHIO
REFUGE FROM ROCK
Meat Loafs house was just enchanting
(At Home with Meat Loaf, April). Sim-
plicity and comfort are refected in every
picture. How refreshing to hear that he
leaves rock and roll on the road.
JEAN LIVINGSTON
LITTLE ROCK, ARKANSAS
ONCE UPON A TIME
The Washington, D.C., home by Jos
Sols 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 frethe memento mori
painting above the fre was a perfect ft.
VICTORIA BROWN
SACRAMENTO, CALIFORNIA
A SECOND CHANCE
Years 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 Im kicking myself for
the foolish mistake. After seeing Harry
Bensons Tivoli Gardens in the Books
column (April), I ordered a copy online
right away. I know youre 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 BREEZES
The 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
suites lounge, which looks straight out
to the ocean. And those windowsI know
I would have them open all day long.
NATHAN MOORE
SEATTLE, WASHINGTON
SPRING FLING
The March 2008 issue is a great testa-
ment to ADs 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 Mahalethe beach resort in Tan-
zaniaor 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 TRADITION
Ian Lambots 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 Fosters
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 YELLOW
The 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 youre 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 writers name, address and daytime phone number and be sent by e-mail to
letters@archdigest.com 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 ENTERTAINMENT
The 727 with the interiors by Craig
Wright (Engines Away! February 2008)
reflects the good old days of flying,
when taking a fight meant dressed-up
passengers and luxury. The fowers and
the ice sculpture are nice touches. Im
sure there arent any baggage restrictions
for fights on this plane.
JENNIFER COOPER
ALBUQUERQUE, NEW MEXICO
FRENCH CONNECTION
The 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 DELIGHT
While 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 refects Ms.
Warners fne taste as well as her interna-
tional upbringing.
GAIL BECK
BALTIMORE, MARYLAND
ALL-TIME FAVORITE
The 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 START
Im 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 benefcial 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 defne my tastes,
preferences and dislikes. Your magazine
will help me prepare to be a great archi-
tect before I even fnish college. I plan
on having a vast library of Architectural
Digests in the future.
NICHOLAS RATCLIFF
BRISTOL, VIRGINIA
HELPING A FIRST-TIMER
Thank you so much for your Design-
ers Tell All section in the January issue. I
recently bought my frst home and have
been completely overwhelmed with dec-
orating tasks. The color and home offce
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 PAST
Recently, 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 Marthas Vine-
yard. A contemporary lodge nestled in Wyomings 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
its used on the weekends or as a full-time residence, whether its whimsical, classic or awe-
inspiring, each offers its own perspective on the American country house ideal. Weve 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 youll also fnd Ty Warners 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 weve 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 youre there, be sure to check out the latest designs chosen by our senior
staff at our most recent Open Auditions. And dont forget Design for Sale, where you can
fnd out about items available from our AD 100 designers signature linesand objects from
their personal collections. Well 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
Mexicobased Robert Recks as-
signments for this months issue
kept him in his home stateand
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 Turners 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 Marthas Vineyard since her col-
lege days (I love it in all seasons, she
confdes), 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 inchevery foorboard, every plant, every
cedar shingleof 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 fnding property in a per-
fect spot, with structures that need rescue and reimagining, has
always greatly appealed to me. I havent acted on the idea, though
at least not yet.
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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 hadwith great
expectationsnamed him Hawkeye after
the tracker in James Fenimore Coopers 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 Coopers original homestead. The director there
graciously had my own Hawkeye photographed for me on the very
grounds where Coopers Hawkeye was conceived. The Thaw collection
turned out to be a revelationwhat 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). Its very
Montana and real. You just want to
stoke the fre, 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 fxed it up but
retained its character and didnt
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 dont have the spirit of what
it was before, laments contrib-
uting writerand Tiffanys de-
sign directorJohn 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 doesnt
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. Halls 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 frst glance, its
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 foor copied
from an 18th-century example. On closer inspection, however, the resi-
dence is modernits very open and light, notes Rowlands. Things
fow 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-
feld 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 freplace 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 feelopen up to the ceiling, with
rough-hewn beams. Its built by hand, and you can see the cut of the ax.
It takes me home.
Contributors
W
hether 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 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
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 audiobooksare fne-
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 overlook-
ing the lake was selected
as the site to relocate the re-
mains of a 250-year-old barn.
After a fre destroyed the barn
before it could be moved, they
were fortunate enough to fnd
another, from the same period
and with the same footprint,
Design Notebook
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 barns 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 fll the residence. ABOVE: Brightly hued ki-
lims and a wearable art piece by Jean Williams Cacicedo, hang-
ing above the freplace, 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 foor of the west balcony.
continued from page 42
Design Notebook
get some light, as you do in a
cathedrallight penetrating to
flood into the volumeso
there are a number of small
windows, which, unless youre
20 feet tall, youre 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 frst 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 defne areas of use
and to hang on the gable ends
to add color and softness to the
masculine structure. Then rus-
We had spent many years antiquing
in England and elsewhere and shifted gears
to focus on the American folk markets.
version had much to do with
their shared sympathy for the
authentic. Were 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
fair 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 clowns 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 flls the house, Jim Dale
notes, Weve 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 fgures 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 fnds. Lin-
ing a wall are English Art Nouveau tiles.
BELOW: The south faade. Robertson added a wing
on either side of the barn but maintained, says Jim
Dale, as much as possible of the barns spirit. BE-
LOW LEFT: Julie and Jim Dale on the propertys 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 Beauties
Eugene V. Thaw on His Extraordinary Compilation of North American Indian Works
By 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 YORKTHAT 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 KINDMILESTONES 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-
tionits 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, whichI have to hand it to them
goes very nicely with the neo-Georgian
architecture of their circa 1930 main build-
ing. Its right on the site of James Fenimore
Coopers 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 Iroquoisand the entire Cooperstown
area was once Iroquois countrymeans
roughly a place to come together by the
water. When the wing opened in 1995,
A Nez Perce horse
mask, circa 18751900,
features horsehair,
feathers, glass beads
and brass buttons.
Art Notebook
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the Tadodaho himselfthe speaker of
the chiefs of the whole six-tribe Iroquois
Confederacygave 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 versionthe regular way
takes four days.
HOW DID YOU GET INTO INDIANI
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
itart 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 Id created from the sale of a
single painting I owned that had been on
loan to the Frick for several yearsVan
Goghs upright Flowering Garden. Theres
a horizontal Flowering Garden, too. Thats
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 OKeeffe estatethey wanted some-
one who was not in the OKeeffe 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, toothe mountain vistas were
supernally beautiful. And then, because Im
someone who needs to have something to
collect, I began to look for a project where
I could continue to exercise my eyego
on using it to distinguish better from
worse and then the defnitively 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 Ren dHarnoncourts Indian
Art of the United States exhibition at
the Museum of Modern Art when I was a
teenager1941, I think that was.
AT LEAST YOU PICKED A PLACE TO
SETTLE IN THAT DIDNT 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 CityId sold him that
famous Monet that was in the frst Im-
pressionist exhibition of 1874, Boulevard
des Capucines. Anyway, Ted knew his
way around American Indian art as both
collector and scholarhe had, after all,
organized the Sacred Circles bicenten-
nial exhibition that covered 2,000 years
of the stuff.
HES 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
184070 frontlet. RIGHT: An Ojibwa
bandolier bag, circa 1870, is made of cot-
ton, wool yarn, velvet and glass beads.
ABOVE: A circa 14501500 poly-
chrome vessel was discovered at
the Sikyatki pueblo in north-
eastern Arizona in the 1960s.
Art Notebook
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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
DRER IN 1520 EXPRESSING HIS AMAZE-
MENT AT THE AZTEC FEATHERWORK
THAT CORTS 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 refects 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 anywhereit could
stand alongside Asian, African, Egyptian,
European and Maori masterpieces.
YOURE 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, theyre
priced like thatpretty much sonow.
The market has changed a lotits 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
$100,000a 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 objectfor an
18th-century Tlingit war helmet with a
fantastic birds 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. Its all the same business, reallyof
looking for quality, for depth of expres-
sion, for workmanship, craftsmanship, art-
istry. Surface appearancepatinawas 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 coloringtwo weeks in
the light and they fade, so you want to
try and fnd pieces where the colors 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 originlater we
found it reproduced in color in a cata-
logue. Wed bought it for only $500. As it
was emblazoned with the American fag,
I decided to buy some more fag-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 fag man! It had just
snowballedwed gotten excited by the
fact that you could still fnd 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 girls dress by the
Teton Sioux. ABOVE: The Hurons in Que-
bec made moccasins from black-dyed hide,
moose hair and silk, 184753.
Art Notebook
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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
workedso closely woven it could pass
for linen. And a sensational Plateau horse
mask with a clutch of red-shafted-ficker
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?
Its 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 feld, would tip me
off if something especially fne was coming
up at auction. Id make up my own mind
about whether or not to buy itit was my
taste and my judgmentbut I did like to
get recommendations.
I also compiled quite a library on the
subject. And I visited museums all over the
worldI told you, I was revved upto
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 wasnt
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.
HES BEEN IN THE NEWS LATELYFOR
SELLING WARHOLS 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 piecestake that Tsimshian
frontlet headdress with the face of a thun-
derbird and the nose thats all marvelously
beaked and curled, or that Tlingit clan
hat made of wood. Now thats a magnif-
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,
Im more strongly drawn to objects that
are sculptural, three-dimensionaland
there the great Northwest Coast carvings
and Eskimo masks take precedentthan
I am, lets 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 treasuresespecially,
again, Northwest Coast, which is the high-
est Indian artcame 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 diffcult, but I was able to
make packages of things a couple of times
with himbuy a group of objects. Paying
too much, of course, but not as much too
much as hed originally wanted. These
were marathon negotiating sessionswe
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 Lees 19045 basket is
constructed of western redbud and bracken
root. RIGHT: A Micmac wool, glass bead
and silk pouch, circa 184050.
Collector, dealer, educator and philanthro-
pist Eugene V. Thaw (above) amassed one of
the worlds most important Native American
art collections and then gave it to Coopers-
town, New Yorks 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 Elginstraight 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 mid19th 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 masswhen
I had about 300 pieces of high quality
and our house was positively overfowing
with the stuff, and I mean walls, drawers,
foors, tabletops, bookshelveswe began
trying to fnd the right home for it. Its
fnal 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 itthe place had geographical,
historical and, through James Fenimore
Coopers 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 winghed
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, fll in the holes, buy the greatest
examples from every region and period.
So then I really went to townI 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 Peterss personal col-
lection of Pueblo and Navajo weavings,
among them a frst-phase chiefs 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 onI
dont know if you ever watch that stupid
program on public televisionAntiques
Roadshow. Somebody brought in a chiefs
blanket that they just had sort of over a
chair in their house, and they were fab-
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 fne things, the famous Kwa-
kiutl potlatch fgure of a man gesturing
with the index fnger 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 fn-
ger masks. The women, you see, werent
permitted to dance barehanded when they
petitioned the gods for things like abun-
dance for the coming yearthey had to
hold a mask in each hand. As part of the
temptation for me to buy themand they
were expensivethe hopeful seller pulled
out a big French book of Eskimo masks
that featured them, along with masks from
the collection of Andr Breton, one of the
founders of Surrealism. American Indian
material was popular with the Surrealists,
you knowMax Ernst and Paul luard
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. Its
Washoethats the tribeand
it was woven, 30 stitches per
linear inch, by Well, Lou-
isa Keyser was her American
nameher Native name was
Dat So La Lee, which I was
told means big hips. Shes
the most famous Native basket
weaver of North America, and
this is her most famous basket,
the most historically signifcant
basket of her career. Its 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 famessupposedly to
commemorate the big signal
fres 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 DRAW-
INGS BY THE SIOUX CHIEF
BLACK HAWK.
Thats a world masterpiece
probably as fne as any ledger
book in existence. Id 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. Its all
done in pencil and crayon in a
fat pictographic style so unlike
the tradition of Renaissance
to modern drawing, which
has shading and perspective
and all of that. It came up at
Sothebys in 1994 and went
for the second-highest price
ever paid for Indian art at the
timealmost $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 themalong with
the goods that were found with
them. And we have nothing
like that. We werent 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. Theyll even-
tually go to the museum, too.
YOU WILL THEN HAVE
SHARED ABSOLUTELY EVERY-
THING.
Its the Indians, rather, who
will havethey 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 for-
ward. We are at the beginning
of this chain, not the end
and thats an optimistic place
to be. l
Visit ArchitecturalDigest.com for
the 10 Steven M. L. Aronson in-
terviews with Eugene V. Thaw
that have been published to date.
Art Notebook
I
ts the kind of place where
people check in with their
pugsregistering the little
darlings as Jack and Jackie in
the guest bookand where fel-
low 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 Ysidros
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 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
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 faws. San Ysidro
was sort of like everyones 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-liftand,
frankly, she looks amazing.
Warner interviewed a num-
ber of architects for the job,
but its 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 fn-
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 freplace 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
freplaces) still enchant.
The ranchs 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 freplace warms Willow Cottage.
the sandstone structure that
houses them was refreshed.
Appleton replaced its old wood
deck with a stone terrace that
matches the buildings exterior
and takes full advantage of the
ranchs 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 isnt a single building
that wasnt totally restored or,
in some cases, rebuilt entirely.
He is quick to credit Warners
commitment to the project.
Its 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, its
the improvements to the
grounds that you notice frst
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
outftted with new bath fxtures 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 theres 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-
ertys 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-
fornias agrarian past was never
this prettybut then, mythol-
ogizing the states 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 It
A 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 survivormost were broken
open to retrieve the saved money.
Rock and Roll
Brazilian designer Jos 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 tte--tte
rocker of reclaimed pequi, $32,000.
Discoveries by Designers Architectural Digests Editors Present Designers Sources
A Bed in
the Berkshires
Topping 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 peacocks tail.
Le Trianon, 1854 N. Main St., Shefeld, MA 01257
413-528-0775; www.letrianon.1stdibs.com
P
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Schumacher
Good Day Sunshine is a
printed linen in the Schu-
macher (800-523-1200;
www.fschumacher.com)
Modern Collection; it
comes in black and white,
famingo, spring and
china blue (shown).
Discoveries by Designers Architectural Digests Editors Present Designers Sources
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Quite a Pair
New Yorks 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 Flowers
The tree of life, a folk art motif that
recurs across cultures, appears on
a nearly three-by-fve-foot 193040
American hooked rug, $1,675, from
A Bird in Hand Antiques (www.a
birdinhand.com; 973-410-0077) in
Florham Park, New Jersey.
Found Marbles
In Brooklyn, New York, S. Scott
Powers Antiques (www.burlsnuff
.com; 718-625-1715) has a circa 1860
stoneware basket flled with 50
1.25-inch-diameter Bennington mar-
bles, $3,600 for the basket and
marbles; $3,100 for the basket only.
At Scalamandr (800-
932-4361; www.scala
mandre.com), Raj Bo-
tanica is a foral union
cloth, with background
colors of ivory, soft
blue, Indian yellow and
Madras pink (shown).
Scalamandr
Discoveries by Designers ADs Editors Present Designers Sources
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Big Top Memories
Tella 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 gures animated gestures.
Canup Antiques, 828-743-9435; www.canupantiques.com
Lee Jofa
Conjuring up old Eu-
ropean wall paint-
ings, Vintage Fresco is a
printed linen available
in champagne and pale
aqua from Lee Jofa
(800-453-3563; www
.leejofa.com).
How Bizarre
Torontos 20th Century Objects
(www.20thcenturyobjects.com; 416-
617-9119) has a fne example of a
1930s Clarice Cliff Bizarre vase,
$2,800. The English potters output
was typifed by imaginative interpre-
tations of the Art Dco aesthetic.
Abstract oral designs and a
striking combination of colors
distinguish a Cliff vase.
Obsolete (www.obsoleteinc.com;
310-399-0024), of Venice, Califor-
nia, has a delightfuland expres-
sive192030 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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Lets Bowl!
Bowling sets, such as one, $195, at Houstons 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 Direction
Dating from the early 1800s, a wa-
tercolor of a mariners 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
M
ost designers faced with the
prospect of having just five
weeks to complete a job thats
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 magazines green room for this years
Academy Awards. Paige and I, we go back
a while, and shed seen the work Id 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 didnt have to look far
for inspiration. His green room pays exu-
berant homage to four of Drapers most
notable projectsCalifornias Arrowhead
Springs Hotel, the Quitandinha Palace
& Casino Resort in Brazil, the Camellia
House at Chicagos Drake Hotel and New
Yorks 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 Digests 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 foral 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 foors and overscale foral prints in
vivid huesall 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
foor stenciled in a checkerboard design.
Mottled aubergine walls are offset by a
glossy white wainscoting and oversize
crown moldings. Theres 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 foral 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-
lywoods 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 fre exit doors and had
to be tweaked to ft. 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. Thats what its all about. l
Visit www.ArchitecturalDigest.com to see
more Oscar-related features.
Design Notebook
H
e 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
defnitely 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 LAmour. 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 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
ABOVE: The compound that architect Bill Tull designed for the late R. Mi-
chael Kammerer, Jr., in Santa Fe refects the owners love of southwestern
art and architecture. BELOW: The sunroom, originally intended to be a pa-
tio, was enclosed with a bveda ceiling and doubles as a gallery space. A
feather motif by potter Maria Martinez inspired the granite foor 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 laterafter di-
vorcing his first wife and meeting his
secondhe purchased 175 acres of pas-
tureland between the Ortiz and Sangre de
Cristo mountain ranges in Santa Fe and
hired the Scottsdale, Arizonabased 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 torron, 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-foor stairwell. Western
historythats the stuff my dad loved, says
Kammerers 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 lled with superb paintings by Taos
School artists, Native American rugs and pottery, and
western collectibles, from chaps to bridles to ries.
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 bronz-
es 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 fags deco-
rate the walls of the
offce. 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 fagstone foors.
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 Mignerys 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 Ortiz
Mountains, Tull designed a pueblo-style compound that,
while grand in scale, speaks the local vernacular.
ABOVE: Its the kind of room that makes peoples
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 Michaels Watering Hole, says Kammer-
er. RIGHT: To further Rancho Alegres authentic
look, Tull anchored the compound with a stone
tower. Black-walnut doors mark the entrance.
foors 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 Canyonthe Anasazi ruins in
New Mexicos San Juan Basin. The baths
banded sandstone walls, viga-and-latilla
ceiling and petroglyph-like etchings all re-
call the astonishing skills of the Puebloans.
Of course, the Anasazi didnt enjoy free-
standing pedestal showers or Roman tubs,
but then the Anasazi didnt revolutionize
television advertising.
R. Michael Kammerer continued to
develop his collections at Rancho Alegre.
The house is flled with superb paintings
by Taos School artists, Native American
rugs and pottery, and western collect-
ibles, from chaps to bridles to rifes. The
saddle room exhibits the workmanship of
masters like Edward H. Bohlin (he made
Roy Rogerss 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 dads collection, says Rudy
Kammerer. It was sort of the way it all
ft together that made the collection spe-
cial. This spring Sothebys 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, its 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
fve-bedroom, 7.5-bath
Caribbean colonialstyle
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,
I
n 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 neoQueen 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 Rened Yet Relaxed Ambience
heart-pine foors 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 World
California, Massachusetts, Colorado, Florida
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A
recent reconfguration 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 foor-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 Cabos famous stone
arches), expansions of the hot
tub and pool, the reimagining
of the third foor 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
T
he frst 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 defned
by a plethora of palm trees,
which add to the regal but
welcoming feel of the structure
itself. Its 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
amenitiesa 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-
waiis sleepier Big Island. The
1.19-acre property is a tranquil
oasis of exotic plants, fowers
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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V
iews abound for a contem-
porary house on a quiet
cul-de-sac along a Sausalito
ridgeline fve minutes from the
hiking and biking trails of
Golden Gate National Recre-
ation Area. The four-bedroom,
four-bath residences large
windows and open foor plan
maximize vistas to the north,
east and southof 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 foors
throughout have radiant heat.
Floating stairs and a barrel-
vaulted Douglas fr 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 fnancier
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 frst 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, Christies.
Ralph Lauren Home pillow plaid.
O
h, give me a home where the
buffalo roam is the open-
ing line of one of Americas
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
Stateshe has title to nearly two million
acres in 11 stateshe 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, crittersthe
largest land animal, he proudly observes,
in all of North America.
Turners 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 fies
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 property350,000
acres. In 2006 he decided it was time for a
proper house, beautiful yet simple, and in
www.ArchitecturalDigest.com l 123
Its a nice house, but its 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 fank
the freplace, and a side table displays circa 191040 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 Ive had to eat my words.
When youre in the house, youre part
of the desertand you still have beauti-
ful landscapes.
On one thing everyone agreed: The
house should be a partner to its surround-
ings. I didnt 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 Manto a trail
that runs through the ranch.
The purpose of the houseit was to
be a desert lodgewas foremost in the
designers minds. Carson placed the front
no sense wasteful. I dont believe in wast-
ing anything, he says. Im 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 frmly embedded in the Ar-
mendariss dusty soil. One was where Tur-
ner 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 briefy
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 foors.
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 freplaces 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 foor 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 doesnt require luxurious accommodations, says Hunt.
Hes very cool that way. He just needs a pillow and a bed, and
hes 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 foor 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 dont 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 bedrooms
headboard and bed skirt. Its like suede,
she says, but a little rougher.
Turner and Hunt share a grandson
her daughter Gannon was married to his
son Beauand 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 Bolsonla tortuga grande del
desierto, or the big turtle of the deserthas
probably not been seen in those parts in
several thousand years. Im 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, were 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
lightbulbsfrom 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.
Im 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.
Im not buying land now, Turner says. Ive 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.
I
n 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 frm 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 specifc 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
couldnt 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
ft in with the area, says Rene OLeary,
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 innocentand large enough to
handle just about anythingbut it was
actually a multivalent site charged with
conficting 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 signifcant yet dis-
creet. We wanted to do something appro-
priate, something that would sit lightly on
the land, says Thomas Kligerman, one of
the frms three partners. The clients need-
ed a horse barn, one that could also shelter
the cats and dogs the couple foster.
It was the frst 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 Rene OLeary 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.
Chadsworths columns. Weatherend benches.
Architecture by Ike Kligerman Barkley
Interior Design by Rene OLeary
Virginia
Invoking an Ideal
ROMANTICIZED FORMS PAY HOMAGE TO SOUTHERN ARCHITECTURAL
TRADITIONS IN A HISTORIC LANDSCAPE
I wanted to build on the classical ideal of taking
refuge 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 enrichingthe task was the ruin of
Hawkwood, a preCivil War Tuscan-style
house designed by the eminent New York
architect Alexander Jackson Davis. Its
just across the road, so theres a direct vi-
sual connection, Barkley adds. Since its a
ruin, theres 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 its 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
houses Greek pediment on its side to create the silhouette for the 28-
stall barn. ABOVE: OLeary chose a bold hue to offset the trim in the vaulted
living room. A Nobilis fabric covers the love seat. The chairs near the fre-
place are done in a Bergamo fabric. Odegard orange rug. Holly Hunt lamp.
other side of the portico, theres 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 Revivalstyle 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 outftted
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 fre-
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 it
is 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 win-
dows, breezes, views and sunlight, he says,
noting, Its 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 Im away, I cant wait to get back to Virginia, says Rene OLeary. Its 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 OLearys horses, as well as
a spiral staircase that leads up to an apart-
ment for the groom, in the gable, where
theres 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
A
ccording 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 Stonewho developed
the manufacturing conglomerate Mono-
gram Industries in the 1960s and once
owned the Phoenix Firebirdshis wife,
Connie, and their fve 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 fve 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
weeksit 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--terre
while the couples main house on
the property is being built. OPPO-
SITE: London removed plastic fn-
ishes from the foors and painted
everything that needed it, she says.
Deer Cabin Reverie
Montana
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 Pacifc Northwest, all over Califor-
nia, Aspen, Santa Feeverywhereand
we just couldnt fnd 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
lakeand the very next day purchased a
15-acre site supporting a lot of pine trees
and one 1930s-era fshing shack.
If it was an impulse buy, their deci-
sion was ratifed 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
couples 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 shacka 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 madeLondon to Andersson, An-
dersson to the line shack, London to the
Stones fshing 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 tionthere are no extras
and everything is used frequently.
ABOVE: An armoire holds dishes,
linens and candles. Theres 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.
Theyre 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 modifed 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 fre 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 structures 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 captains 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
findsdumpy calico curtains, 1920s
light fxtures, period hickory chairs and
Amish rockers.
Mimis 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 wouldnt
think would respond to it want
to be there washing the
dishes and heating the water.
Outlaw Ephemera
On 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 outlaws
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
nations popular
imagination.
Little Tent
Made for a child, a circa 1890 Plains
tepee, $10,500, at Denvers David
Cook Fine American Art (www.da
vidcookfneamericanart.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 ADs Editors Present Designers Sources Discoveries by Designers ADs Editors Present Designers Sources
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Arrowing In
Geometric designs in strong colors
defne a parfeche, $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 Away
A full dockyard builders 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 fve feet in length.
Fun and Games
From RJG Antiques (www.rjgan
tiques.com; 603-433-1770), Russ and
Karen Goldbergers 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 didnt care,
because we fell in love with its shape,
the land, the view, Roseline Glazer
says of the shingled cottage on
Mar thas 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.
L
ong before Roseline
Glazer bought a small
house overlooking
the sea on Marthas
Vineyard, she fell in love with
a painting by Claude Monet
of a small house overlooking
the sea on the northwest coast
of France, Fishermans Cottage
on the Cliffs at Varengeville.
She acquired a print of the
picturethe original belongs
to the Museum of Fine Arts,
Bostonand had it framed for
her husband, Bill, who hung it
on a wall in his offce.
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 fshing 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 marketcottage
Renovation Architecture
by Joseph W. Dick, aia
Text by Jean Strouse
Photography by
Richard Mandelkorn
Massachusetts
Seaside Sanctuary
A CLUSTER OF COTTAGES ON MARTHAS 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
natures umbrella, she remarks.
ABOVE: A corner of the living room.
Vintage fabrics cover the pillows.
Theres 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
beachand 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 didnt need
care, she says. Anyone else
would have torn the house
down. But I loved it.
The renovation took 10
yearsduring which time the
Glazers became grandparents
and moved from Connecticut
to downtown Manhattan to
Key Westand 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
cottagelaying wide-plank fr
over a concrete foor, 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-
tiquesin 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 offce 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 fgured out how to fnd
me, he says without a trace
of regret.
Nature, in Roseline Gla-
zers 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 offce,
a visitor crosses a lawn to a
stone path and steps that lead
to the kitchen at the rear of
the main cottagethe 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 dont 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 fnished renovating, she explains. Its 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-
lainall of which are on dis-
play in the house. A few years
ago she added a dining room
adjacent to the kitchena
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 couples dog, Murray, is on the offces
terrace. An avid gardener, Glazer massed plantings, in-
cluding hydrangeas and salvia, around the perimeter.
From the chairs, theres 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 houses 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 dont nec-
essarily fnd houses, she says.
They fnd us. l
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
Connecticut
They are modernists who have ended up living in old struc-
tures, designer Russell Groves says of longtime clientsa
hedge-fund manager and his wife, parents of three-year-old
twin daughterswho 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 fnd a way
to bring a breath of modernism to the rustic spaces. Idelle
Webers Across the Meadow, left, and Jardin de Paris, an 1897
poster by Jules Chret, 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?
Its 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 youre lucky, youll
be free to design.
Now hear it from the clients
side: Russell worked on our
Brooklyn Heights town house
and my Manhattan offces. He
knows my wife and me pretty
well by now, but I remember
when we frst sat down, with
our clippings and notes. He
sifted through them and said,
Some of these translate into
practical solutions; some are
ABOVE: The kitchens modern ap-
pliances contrast with the barns
original wood beams, posts and
fooring. What we did here, basi-
cally, was revise what we found,
says Groves (top). We used zinc
and marble countertops. Theyre
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.
I
n 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 chairswood
themselves, in order to relate to the
surroundingsand a customized
chandelier. The fagstone freplace
dominates the space.
inspirational. He has a way
of getting to the essence of a
project. By now weve learned
that the best way for him to
work, and for us, too, is simply
to lay out all the goalsthen
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. Grovess 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 contempo-
rary 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
childrens play. Yet it is also a
place of workthe husband
maintains a home offce 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
fnished 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 foors, dramatic
fagstones. 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 barns frame cast
an anchor into the 19th centu-
ry; the couples artwork pushed
the chronology forward into
the 20th and 21st. Grovess
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 fanked by a pair of
rocking chairs, which he produced in collaboration with Connecticut-based
furniture maker Ian Ingersoll. Grovess 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 the
country, 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 bet-
ter than we did ourselves. ABOVE: A Noguchi foor lamp and side table are
next to a pair of woven-leather chairs in a seating area in the guesthouse.
167
ern moments. In the central
room, matched pairs of Arts
and Crafts armchairs, Paul
McCobb stools and whimsical
contemporary childrens 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 fagstone freplace.
What you find here is
a formal arrangement, yes,
but its 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 foor. 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 wifes father.
Grovess 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 foor
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 thats 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 Feather
Lehigh County, Pennsylvania, artist James Christian Seagraves was
known for his interpretations of Pennsylvania German symbols.
Frylings 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 Seagravess pieces. Another
piecea bird whistle, $400is signed JCS and is from 198085.
Frylings Antiques, 1717 Becker Rd.
Green Lane, PA 18054; 215-234-0596
www.frylingsantiques.com
Dime Store Detail
At Los Angeless American Garage
(www.americangarageantiques
.com; 323-658-8100) is a nearly fve-
by-four-foot late-19th-century sign
advertising Ed Farrs 5 and 10 Cent
Store. Thought to be from the Bos-
ton area, it has its original paint.
Stark Fabric
Old 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 Village
Consisting 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 at surfaces,
as canvases for her paintings.
Panel Discussion
Mid-20th-century painted wood
panels, $2,900 each, are by an artist
known only as Lucy from Sikeston,
Missouri. Theyre now for sale at
The Splendid Peasant (www.splen
didpeasant.com; 401-396-9255) in
Bristol, Rhode Island.
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
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 feldstone 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.
Im crazy about depth; its the layers upon
layers that make things interesting.
O
ne of his frst gifts
to the woman he
would later marry
she was 16 or 17
at the timewas 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 its
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 doesnt 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, frm
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 feldstone, 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 barns faade in a
gable end of the residence.
Entering the house is like
stepping into a pool of light:
A Palladian window on the
second foorcopied from a
house in Morristown, New Jer-
sey, where George Washington
was headquartered during the
Revolutionary Warsends
the sunlight down to the frst
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
Scalamandr 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 Scalamandr trim.
foor. 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. Im crazy about
depth; its the layers upon lay-
ers that make things interest-
ing. To the right, a gracious
staircase, shallow-stepped and
gracefully wide, seems to foat
up to the second foor.
Guilmet, who designed the
interior architecture as well as
several exterior details, also
pored over historical plans, then
replicated his fndings in such
elements as the houses 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 foor,
says Guilmets partner, Patrick
Bell, but these foors were laid
with cut nails that are fush with
the wood. Theyre not as dra-
matic visually, but theyre more
appropriate historically.
In the spacious, light-flled
living room, a Serapi carpet,
from the couples impressive
rug collection, literally sets the
tone; the muted crimson of its
backgroundwhat the wife
calls a very Colonial redis
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 mid19th century. Ralph
Lauren Home sofas, with Scalamandr fabric.
couple worked with Bell, an
antiques dealer, to acquire pe-
riod art and furnishings for the
residence. Such pursuits are in
the wifes blood: My parents
collected antiques, and they
took me around to dealers, she
says. The couple favor painted
surfaces, and some of the living
rooms 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-
blea piece said to have once
belonged to Benjamin Lincoln,
a general in the Revolutionary
Warthat, along with a side-
board and six of the mahogany
dining chairs, had long been in
the familys possession. Guil-
met had the chairs copied,
increasing their number to a
dozen, and claims that even he
cant 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 En-
glish-born landscape architect
Peter Cummin, to the country-
side beyond.
The house remains a work
in progressas, perhaps, any
antiques lovers residence must
be. Its 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 Wyomings Grand Teton valley. Its a challenge to ft a house into a context and
make it look like its always been there, notes the Winnetka, Illinoisbased 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 wasnt sure how this house
would turn out. You dont fnd
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. Whats
more, the site was really fat,
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,
thats all.
For comforts sake, she
might have started out on
more familiar turfmaybe in
Winnetka, Illinois, where her
office is located and where
shes completely fuent 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 dont 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 Jef Turrentine/Photography by Steve Hall/Hedrich Blessing
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graphical grade change, can
be challenging. Its just right
there; you can see it from the
road, far away.
The clients, with whom
Robbins had worked before,
shared the architects 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,
fat 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 Mgensen chairs.
Barstools, BDDW. Sub-Zero refrig-
erator and Wolf range, at Abt.com.
Rocky Mountain hardware. BELOW:
The main-foor 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 Wrights Prairie style.
Robbins also likes how the
gabled/flat dichotomy mir-
rors the relationship between
the surrounding Teton moun-
tains and the broad, fat 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 frm Hershberger De-
3
4
1
2
6
5
8
7
10
9
11
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-
zelles 1935 watercolor Vase of Flow-
ers hangs above a 1930s terra-cotta
fgure and a 1950s Finn Juhl arm-
chair. Drapery fabric, Rogers &
Goffgon. Stark carpet. ABOVE: A
wraparound sandstone terrace. Ban-
quette cushion fabric, Perennials.
sign to help fll out her vision.
(There arent 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 de-
signer Berta Shapiro, who had
worked with Robbins on the
clients house back in Illinois,
was again called into service.
On that frst snowy recon-
naissance mission, Robbins
and her client agreed that the
houses 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
H
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Going for the Goat
A 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 Nutshell
Adrian Sassoon (www.adriansassoon
.com; 44-20-7581-9888) is a Lon-
don dealer renowned for both his
collection of 18th-century Svres
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
naturebe it in the sea
or on the land.
Priors Restraint
Austin 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
& Fils
Inspired 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 wildfower meadow pre-
cedes the 3,000-square-foot residences entrance.
Rhode Island
Proud Heritage
A 200
-
YEAR
-
OLD BARN IS BORN AGAIN
AS A DESIGNERS OWN COASTAL RETREAT
191
A
fter a quarter of a
centurys 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 propertyfour
arcadian acres bordered by
conservation land and romanti-
cally strewn with the remnants
of rude stone wallswas 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 lifein 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
hearts 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 fnally 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-
tionthe massive hand-hewn
oak beams, posts and purlins
were all mortised, tenoned and
pegged! And as if that werent
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 wildfower meadow.
The couple then proceeded to
make it more compatible with
the other old barns in the area
by adding a faade of local
ABOVE: Part of the barns transformation included sheathing the faade in stonean hom-
age to local farm buildings. BELOW: The designers 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 rooms arbor, handmade
nontoxic milk paint for the
vertical-plank interior walls,
and energy-effcient concrete
for the foors on the frst 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
materialsover a three-day
period, no lessthrowing
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 fne 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 fre-
place in the dining area required
some rearranging of the barns
structural supports, most of the
posts and beams were left in their
original position, Denisevich-
Grickis says. The plank walls were
fnished with a white milk paint
one of the interiors many green
design features.
TOP: The upper levels 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 foors 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 foor 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 fragments18th-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
foor 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
nontoxicthat 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 arborsoon to be en-
veloped in fowering vinesspans
nearly the width of the shingled rear
faade, 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 freplace.
A feld 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-
ings living and pool areas.
Farmhouse Abstraction
A RECREATIONAL OUTBUILDING MIRRORS ITS BUCOLIC SETTING
Architecture by Paul F. Shurtlef, aia/Interior Design by Thad Hayes/Landscape Architecture by Reed Hilderbrand
Text by Joseph Giovannini/Photography by Scott Frances
New York
L
ook again: Can you
be absolutely sure
this little farm build-
ing wasnt already
there, and that instead of de-
signing it, the architect just
signed it?
Freud said the ego didnt be-
lieve in its own birth, and its
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
hasnt 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 ft with the ver-
nacular farmhouses of the area
and the network of feldstone
walls lacing the landscape.
A house doesnt always have
to exhibit Frank Lloyd Wrights
fngerprints 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, its because the designers
frst shaped the landscape, and
the house followed naturally,
taking its cue from an existing
tartan of feldstone 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 houses 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
fr 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 feld 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 fxtures. 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 feldstone 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 clientsshe works
in filmwanted 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 matterso 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
feld house that had grown to
5,000 square feet, and the size
demanded that the designers
tamp down the scale so that
the outbuilding didnt 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 couldnt allow the structure
to balloon: Old farmhouses
were built small to retain
heat, and infated scale gives
away the newness of a build-
The wall leading up to the house actually runs through it,
splitting the oor into two levels.
ing, despite traditional forms.
As soon as youre 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 faade of the out-
building, where big, generous,
barnlike doors open onto a
great, gabled room focused on
a feldstone freplace 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
foor 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
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 foor leads straight
onto a library centered on a dignifed 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 foor. When the couple have no
guests, its basically a one-bedroom house
on the frst foor.
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 OLeary. 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.
OLeary characterizes the style as
warm modern, and her palettepump-
kin in the living room, Clydesdale brown
in the library and eucalyptus in the din-
ing roomindeed warms the interior.
Once we realized the outside was going
to have columns, that itd be a white house
with black trim, I knew wed 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 OLeary. I asked Joel
whether he designed from the outside in
or the inside out, and he said that it all
came up together. Thats how we did the
whole house. The exterior, interior and the
dcor 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 cant help it, says
the designer. When Im 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 thats what their sofas
are around the fre pit.
Deer Cabin, as the Stones call it, has
answered its multiple purposesand 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 wouldnt 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 buildingsthe lake
house (a master suite for the couple with
a bedroom, kitchenette and offces); 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 out-
door 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.
Im just not sure Im 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
Mimis talent is that
she creates an
intimate and nurturing
environment 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 wouldnt 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 faade, along with the windows
and freplace 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 furniturewhich is
oriented to the view out the barn doors
and to the freplacecan be reoriented
toward the screen, he says. What feels
like a lodge becomes transformed into a
home theater.
Its not so much a summer room, be-
cause its used when its 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 panelsa 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 dcor, summarizes Hayes.
Theres nothing precious about it. l
about the outside as much as the inside,
says Shapiro. Youre dealing with so much
sky, so much landand all of it accompa-
nied by coloration thats constantly chang-
ing from dawn until theres 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 hadnt
even counted on. There were some that I
wasnt expecting, she says. When youre
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 doesnt have to rely on Navajo
rugs or cowboy-themed statuary to prove
its regional bona fdes. (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-
fnement that they and their clients have
always prized into a stylistic language thats
easily absorbed into the rugged moun-
tain vernacular.
If Celeste Robbinswho celebrated, if
thats the right word, her 40th birthday
dealing with the projects contractors
was wondering whether she truly knocked
it out of the park her frst 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. Stairsmade out of the sur-
plus timbers, with a handrail contrived of
twigs gathered on the propertylead to a
sitting room. From there a bridge, which
offers a birds-eye view of the barns im-
pressive wooden skeleton, connects to the
two teenage daughters bedrooms.
With the decorating, I wanted to go
modernI didnt 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
benchboth, naturally, with their original
paint. But much of the rest of whats there
is a pleasant variety, the designer having
taken care that nothing disrupt the ft-
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 contemporaryall 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 foorboards,
lending warmth and color. When you
look at an antique Oriental carpet, Grickis
observes, you always see something you
hadnt noticed before, and its the same
story with the barnthe light that flters
through the windows and pours down
from the cupola illuminates the queen
posts and purlins and other elements of
the barns 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
didnt wag the main house.
IN THE PRESENT
She likes how the gabled/
at dichotomy mirrors
the relationship between
the surrounding Tetons
and the broad, at 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.
D
U
R
S
T
O
N
S
A
Y
L
O
R
AN ANTHOLOGY OF FOLK
Pages 4248
Malcolm Robertson
Robertson & Landers
Architects
59 Grove Street, Suite 2D
New Canaan
Connecticut 06840
203-966-2617
www.robertsonandlanders.com
SAN YSIDRO RANCH
Pages 7076
San Ysidro Ranch
900 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 Design
3935 Lyceum Avenue
Los Angeles, California 90066
310-827-4892
www.laurielewisdesign.com
Sally Paul Design
2516 Midvale Avenue
310-475-2885
A WINNING DESIGN
FOR OSCAR
Pages 9092
Carleton Varney
Dorothy Draper &
Company, Inc.
60 East 56th Street
New York, New York 10022
212-758-2810
www.dorothydraper.com
TED TURNER
Pages 118130
Chris Carson
Ford Powell & Carson
Architects and Planners, Inc.
1138 East Commerce Street
San Antonio, Texas 78205
210-226-1246
www.fpcarch.com
Laura Hunt
30 Highland Park Village
Suite 210
Dallas, Texas 75205
214-526-4868
www.laurahunt.com
Jennifer Bear
Conuence Designs
1401 Old Santa Fe Trail, Suite G
Santa Fe, New Mexico 87501
505-603-4565
www.conuencedesigns.com
INVOKING AN IDEAL
Pages 131139
Ike Kligerman Barkley
Architects PC
330 West 42nd Street
212-268-0128
Rene OLeary Interiors
1815 East Green Springs Road
Louisa, Virginia 23093
540-967-9242
oldraptorfarm@gmail.com
DEER CABIN REVERIE
Pages 140147
Mimi London
London Boone
Incorporated Design
8687 Melrose Avenue
Suite G-168
310-855-2567
www.mimilondon.com
SEASIDE SANCTUARY
Pages 150157
Joseph W. Dick
ArchitectureInc.
17 Summer Street
Yarmouthport
Massachusetts 02675
508-362-1309
www.josephwdick.com
INNER DIRECTED
Pages 158167
S. Russell Groves
210 11th Avenue, Suite 502
212-929-5221
www.srussellgroves.com
CAPTURING TRADITIONS
Pages 170179
Patrick James Burke Architect
P.O. Box 264
New Vernon, New Jersey 07976
973-539-4777
pburkearchitect@aol.com
David Guilmet
Patrick Bell
Bell-Guilmet Associates
P.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 PRESENT
Pages 180187
Celeste Robbins
Robbins Architecture Inc.
894 Green Bay Road, Suite 8
Winnetka, Illinois 60093
847-446-8001
www.robbins-architecture.com
Berta Shapiro
925 West Huron Street
Suite 101
Chicago, Illinois 60622
312-492-9700
Hershberger Design
560 South Glenwood Street
Jackson Hole, Wyoming 83001
307-739-1001
www.hershbergerdesign.com
PROUD HERITAGE
Pages 190197
Ellen Denisevich-Grickis
185 Carmel Hill Road
Bethlehem, Connecticut 06751
203-266-7857
ellengrickis@charter.net
FARMHOUSE ABSTRACTION
Pages 198204
Paul Francis Shurtlef
AIA Architect
88 North Hillside Place
Ridgewood, New Jersey 07450
201-445-8283
Thad Hayes, Inc.
80 West 40th Street
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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A listing of the designers, architects and hotels featured in this issue
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Architectural Digest 07 2008

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